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  #1 (permalink)  
Oud 18-03-2016, 16:11
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Standaard The Game Changers


Concertzender - Electronic Frequencies

The Game changers

A new series for Electronic Frequencies at the Concertzender by Roland Kuit

Fear and bravery
"An act of bravery to break out of tonality's coffin earlier in this century. The rule-inventing and rule-breaking of that era unblocked new musical thoughts. Today, electronics require similar courage to approach and offer the same liberation.
Atonal-ism also offered a distraction; suddenly, in order to be a composer one had to study mathematics. An equivalent distraction value comes today out of using electronics, particular live electronics.
Fear and distraction are an important part of electronic music today. Perhaps in the future the computer will be easy to configure and use, and as reliable as a piano is now. If this happens, composers and performers will seek new sources of uncertainty."

(Puckette and Settl, 1993)

We are living in the next century now. New Challenges came up. To name a few:
New words and scales theories; Geometrical, topological and computational models; Computational analysis and cognitive musicology; Subsumption of Vertical Viewpoint Patterns; the Planet-4D Model: An Original Hypersymmetric Music Space Based on Graph Theory; Melodic Morphing Algorithm in Formalism. Etc, etc,
We have come a long way.
There is no fatigue or weariness in the the creative world. New inventions and equipment has opened so many possibilities.
Roland Kuit in search for electronic/ electroacoustic composers with the same bravery, rule-breaking and rule-inventing ways to create new musical fundamentals for the generations to come.

March 23 Roland Kuit will start with a composer’s portrait of Ava-Maria Avram, composer, pianist and conductor.

After graduating from the National Conservatory of Music in Bucharest, she obtained a degree from Paris Sorbonne in 1992. In 1994 she was awarded the Grand Prize in Composition from the Romanian Academy. Since 1988, Ana-Maria Avram has mentained a close collaboration with Iancu Dumitrescu, but she has also continued to forge her own direction in music.
She is considered to be one of the most important Romanian composers of her generation.
She represents with Iancu Dumitrescu the Hyper-Spectral trend in contemporary avant-garde music. Conductor with Dumitrescu of the Hyperion International Ensemble.
Her music is spectral, acousmatic and transformational. Avram composed around 160 works. Music for soloists, chamber music, orchestra, electronic and computer assisted music.
Her musics are published by Edition Modern, Electrecord, Artgallery, Radio France.

Broadcasting link:
programmagids | Concertzender.nl :: Radio
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  #2 (permalink)  
Oud 16-04-2016, 07:38
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Reputatie: Roland Kuit is op goeie weg
Standaard Re: The Game Changers

The 2nd broadcast in this series is with the music of Carla Scaletti.

This spring 2016 she was on the cover of the Computer Music Journal

With this article

Carla Scaletti

Carla Scaletti is an experimental composer and entrepreneur, designer of the Kyma sound design language and co-founder of Symbolic Sound Corporation. Her compositions always begin with a “what-if” hypothesis and involve live electronics interacting with acoustic sources and environments.

Educated at the University of Illinois (DMA, MCS), she studied composition with Salvatore Martirano, John Melby, Herbert Brün and Scott Wyatt and computer science with Ralph Johnson, one of the Design Patterns “Gang of Four.” She received the Distinguished Alumnae Award for invaluable contributions to the field of music from Texas Tech University where she earned her master’s degree in music and graduated magna cum laude with a bachelor’s degree in music from the University of New Mexico.

In 2015, she was invited to present a keynote address at the International Computer Music Conference (ICMC 2015), and she has been an invited lecturer at GVA Sessions — a workshop involving choreographers, filmmakers, and particle physicists from CERN — and the Centre de Crèation Musical Iannis Xenakis (CCMIX) in Paris. Each year, she co-organizes the Kyma International Sound Symposium (KISS).

1/ Lysogeny (1983) by Carla Scaletti
For Harp and computer generated tape.

2/ Frog Pool Farm (2002) by Carla Scaletti
One steamy moonlit night at the beginning of summer, I was walking home when I stumbled into what can only be described as a frog orgy....

3/ SlipStick (2008) by Carla Scaletti
We tend to use the word "friction" in a pejorative sense as in, "Your independent thinking is causing a lot of friction in the group." But without friction, there would be no love, there would be no forward progress, there would be no vocal utterances, and there would be no music!

4/ Cyclonic (2008) by Carla Scaletti
Cyclonic was inspired by the awesome power of the weather in east central Illinois. It explores the ambiguities between events as experienced, events as remembered, and events as imagined.

5/ QUANTUM (2013) by Carla Scaletti (excerpt)
In 2013, I had been working with physicist Lily Asquith for a couple of years, (http://lhcsound.wordpress.com) on sonifying data from the ATLAS experiment at CERN, when choreographer Gilles Jobin surprised me by asking me to compose the music for his physics-inspired dance piece......

27 April 23.00 hours C.E.T. at Concertzender

schedule | Concertzender.nl :: Radio

Laatst gewijzigd door Roland Kuit; 16-04-2016 om 07:40
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  #3 (permalink)  
Oud 19-05-2016, 09:09
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Reputatie: Roland Kuit is op goeie weg
Standaard Re: The Game Changers

The Game changers #3

Electronic Frequencies: 25-05-2016 - 23.00 C.E.T.
A portrait of Curtis Roads; 'microtones and pulsars'.

In the 1940s, the Nobel prize winning physicist Dennis Gabor proposed that any sound could be decomposed into acoustical quanta bounded by discrete units of time and frequency. This quantum representation formed the famous Gabor matrix. Like a sonogram, the vertical dimension of the Gabor matrix indicated the location of the frequency energy, while the horizontal dimension indicated the time region in which this energy occurred. In a related project, Gabor built a machine to granulate sound into particles. This machine could
alter the duration of a sound without shifting its pitch.
In these two projects, the matrix and the granulator, Gabor accounted for both important domains of sound representation. The matrix was the original windowed frequency-domain representation. "Windowed'' means segmented in time, and "frequency-domain'' refers to spectrum. The granulation machine, on the other hand, operated on a time-domain representation, which is familiar to anyone who has seen waveforms in a sound editor.

Curtis Roads is the first person to implement granular sound processing in the digital domain.

Curtis Roads creates, teaches, and pursues research in the interdisciplinary territory spanning music and sound technology. He studied electronic music and computer music composition at California Institute of the Arts (CalArts) and the University of California, San Diego (UCSD) and received a Doctorate from the Université Paris 8.

He was Editor and Associate Editor of Computer Music Journal (The MIT Press) from 1978 to 2000, and co-founded the International Computer Music Association (ICMA) in 1979.
A researcher in computer music at MIT (1980-1986), he also worked in the software industry for a decade. He taught electronic music composition at Harvard University and sound synthesis techniques at the University of Naples. He was appointed Director of Pedagogy at Les Ateliers UPIC (later CCMIX) and Lecturer in the Music Department of the Université Paris 8.
A pioneer in the development of granular synthesis (1974), he also developed (with Alberto de Campo) the program PulsarGenerator (2001), distributed by the Center for Research in Electronic Art Technology (CREATE) at UCSB. Another invention is the Creatovox, an expressive instrument for virtuoso performance that is based on the synthesis of sound grains and other sound particles. The Creatovox, developed in collaboration with Alberto de Campo, was first demonstrated to the public in March 2000. In 2008, CREATE released Emission Control, a new program for sound granulation written by David Thall in consultation with Curtis Roads.
“Beneath the level of the note lies the realm of microsound, of sound particles.
Microsonic particles remained invisible for centuries. Recent technological advances let us probe and explore the beauties of this formerly unseen world.
Microsonic techniques dissolve the rigid bricks of music architecture the notes into a more fluid and supple medium. Sounds may coalesce, evaporate, or mutate into other sounds.

The sensations of point, pulse (regular series of points), line (tone), and surface (texture) appear as the density of particles increases. Sparse emissions leave rhythmic traces. When the particles line up in rapid succession, they induce the illusion of tone continuity that we call pitch. As the particles meander, they row into streams and rivulets. Dense agglomerations of particles form swirling sound clouds whose shapes evolve over time.”
(Curtis Roads “Microsounds” 2001)

Xenakis applied the first microsounds in composition electronic music.
Not realtime but by use of tape splicing, tape speeds, numerous transitions and overdubs, these -cut into one-second fragments of burning charcoal- sounds getting a granular character.

01/ Xenakis: Concrete PH (1958). *

Barry Truax managed to create granular synthesis in real time using the PODX system, at the Simon Fraser University.

02/ Barry Truax: The blind man(1979). excerpt **

Curtis Roads ***:

03/ Now (2003). 6:14.
04/ Eleventh Vortex (2001). 4:06.
05/ Half-life, Part I: Sonal Atoms (1999). 3:34. 06/ Half-life, Part II: Granules (1999). 2:44.
07/ Sculptor (2001). 3:13.
08/ Volt Air, Part I (2003). 3:16.
09/ Volt Air, Part II (2003). 2:35.
10/ Volt Air, Part III (2003). 2:15.
11/ Volt Air, Part IV (2003). 2:07.
12/ Fluxon (2003). 3:05.
13/ Pictor Alpha (2003). 3:23.
14/ Nanomorphosis (2003). 3:16.

* REGRM 007 / Iannis Xenakis
GRM Works 1957-1962.

Barry Truax‎– Digital Soundscapes
Cambridge Street Records ‎– CSR-CD 8701.

CD13 Tenth Vortex (2000). 3:01.
DVD01 Sculptor (2001). 3:12.
DVD02 Half-life (1999) Parts I And II. 7:36.
DVD03 Volt Air, Part I (2003). 3:14.
DVD04 Volt Air, Part II (2003). 2:34.
DVD05 Volt Air, Part III (2003). 3:19.
DVD06 Volt Air, Part IV (2003). 2:01.
DVD07 Fluxon (2003). 3:09.
DVD08 Pictor Alpha (2003). 3:25.
DVD09 Nanomorphosis (2003). 3:15.
DVD10 Sonal Atoms Visualization By Woon Seung Yeo. 3:36.
DVD11 Pictor Alpha Visualization By Garry Kling. 3:26.
DVD12 Audio Lecture By Curtis Roads At Stanford University June 2004. 20:57.
DVD13 Historical Example Of Granular Synthesis: Prototype (1975). 6:42.

Curtis Roads – Point Line Cloud.
Label: Asphodel – ASP 3000

Produced by: Roland Kuit

programmagids | Concertzender.nl :: Radio
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  #4 (permalink)  
Oud 14-06-2016, 19:46
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Reputatie: Roland Kuit is op goeie weg
Standaard Re: The Game Changers

22 June 2016 23.00 hours C.E.T.

Electronic Frequencies: The Game Changers #4
A portret of composer Gustavo Chab

Gustavo Chab is an experimental composer and sound designer. Educated in Buenos Aires he studied harmony, counterpoint and composition with Daniel Montes and Francisco Kropfl. He was an active member of Otras Musicas Group and FARME of Buenos Aires. He composed his first electroacoustic piece Mirada Roja in 1993, specializing in composition techniques in electroacoustics. He has received-among many awards - a special mention of the Municipality of Buenos Aires, first prize of the FNA, and honorable residence in the International Electroacoustic Music Competition at Bourges. His compositions, including works for instrumental, digital and mixed media, electronic music, acousmatic art, visual poetry, music theater and performances. Frequently explores the spacialisation of sound in composition mixing electroacoustic sounds, vocal sounds and acoustical instruments.
Since 2014 is member of Sonoridades Alternativas of Buenos Aires.

Gustavo Chab – electroacoustic music:

1/ Mirada Roja. (“red sight”, first piece 1992). Electronic Music, is a homonym of an expressionist painting by Arnold Schönberg (1910).
This piece tries to convey the expressive power of the picture. The imaginary voice emerges from the center of the picture, evoking transformation as an emotive symbol. At the same time, the sight stands out from its dramatic environment. Here, the yearning for change is also an illusion poetically expressed. The material is given a meaning and a temporal reference, having as a starting point the aesthetic value that the author elaborates in relation to a time and work. The material acts and dilutes itself, and throughout the three sections of the piece it modulates from an electronic voice simulation towards a real chorus. This work was completed at LIPM, using a DX7 and a Synclavier II.

2/ Dedálico 2007 -2008. Another common Dalíesque image emerge slowly. Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. As Dawn Ades wrote, "The soft watches are an unconscious symbol of the relativity of space and time, a Surrealist meditation on the collapse of our notions of a fixed cosmic order"

3/Lever-k acousmatic music - 2007 - 2008. stereophonic quadraphonic 4.50 "
Parmegiani influences:
Musique concrète set out to expose the intrinsic value of sounds, effacing their symbolic or musical significance. In the process, a number of composers have given an added dimension to their work by participating in the intellectual developments of their time.
..distance hums, sudden silences, abrupt clicks and burst of sound an epic work like La Creation Du Monde are many influences that decided to explore.

4/ Etérea Ethereal Futura I (violin performer and tape) "lightness and unsubstantial lacking material form containing or dissolved in ether".
Performer plays and creates event interacting with graphic scores, tapes and live electronics.
Eterea - Ethereal - version 2015-2016 - for violin - playback as interactive electronic elements, live electronics.
Producing octaphonic surround concerts - LIPM interaction between electronic violin, cd tapes and pre prepared sounds are remixed. Octaphonic system and speakers addressed as four stereo pairs fed by eight mono channels with a circular numbering; beginning with speakers 1/2 on the stage, followed by 3/4 5/6 and 7/8 behind the audience.
Playback as interactive electronic elements - surround expression - stereo sound transmission.

5/ Dibujos sobre el plano I – II 2012 - 2013
Drawings architectural design - geometrical construction - graphics lines interpenetrating.. disappearing transforming figures - mirrors and optics
forms - grains of matter - Mini and Macro structures that can be made thanks computer technology, software like Spear of Michael Klingbeil Matter. Pulsar – excerpt (2014) - The precise periods of pulsars make them useful tools. Certain types of pulsars rival atomic clocks in their accuracy in keeping time. the light is pointed in the direction of an observer, and is responsible for the pulsed appearance of emission. They have regular rotational periods. This produces a very precise interval between pulses that range from roughly milliseconds to seconds for an individual pulsar. "A kind of background roar to the universe, incessant regular waves crashes round the audience".
Berberan mix - excerpt (2015 / 2016) a gesture associated with Berberian....

6/ Etérea Ethereal Futura I. (violin performer and tape). "lightness and insubstantiality lacking
material form containing or dissolved in ether". Performer plays and creates event interacting
with graphic scores, tapes and live electronics
Etérea Ethereal is an speculative composition, a creative form of working with sonic material, is an open source / is a mental process that assemble ideas and series that not always is necessary to be heard / prototype is a musical systems / Intuitive improvisation with interactive electronics - graphic notation with electronic patches navigating scores with cartography and creative music combining live performance. Prototype will seek to explore image, ideas, concept, geometries, music notation and other combinations.

7/ Blending birds. Part III. (excerpt).

8/ Geminis.

programmagids | Concertzender.nl :: Radio

Produced by Roland Kuit
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  #5 (permalink)  
Oud 24-06-2016, 08:04
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Standaard Re: The Game Changers

In geval dat je het gemist hebt, de luister link:
Concertzender Player
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  #6 (permalink)  
Oud 04-07-2016, 07:58
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Standaard Re: The Game Changers

De link was veranderd. Dit is de correcte link:
Gustavo Chab on Concertzender
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  #7 (permalink)  
Oud 23-07-2016, 13:48
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Reputatie: Roland Kuit is op goeie weg
Standaard Re: The Game Changers

Concertzender Electronic Frequencies 27-07-2016 23.00 hours C.E.T.

The Game changers #5

Link to this broadcast

Composers portrait of Jon Christopher Nelson

Jon Christopher Nelson (b. 1960) is a composer who began working in computer music at the MIT Media Lab in the mid-1980s. His electroacoustic music compositions have been performed widely throughout the United States, Europe, Asia, and Latin America. He has been honored with numerous awards including fellowships from the Guggenheim Foundation, the National Endowment for the Arts, and the Fulbright Commission. He is the recipient of Luigi Russolo and Bourges Prizes (including the Euphonies d’Or prize) and recently was recognized as the recipient of the International Computer Music Association’s 2012 Americas Regional Award. In addition to his electro-acoustic works, Nelson has composed a variety of acoustic compositions that have been performed by ensembles such as the New World Symphony, the Memphis Symphony, the Brazos Valley Symphony Orchestra, ALEA III, and others. He has composed in residence at Sweden’s national Electronic Music Studios, the Visby International Composers Center and at IMEB in Bourges, France. His works can be heard on the Bourges, Russolo Pratella, Innova, CDCM, NEUMA, ICMC, and SEAMUS labels. He is currently a Professor at the University of North Texas College of Music.

1/ the rain has a slap and a curve—1997, for stereo tape, 8:24″
For computer-generated tape is based upon excerpts from Robert Gregory’s poem rain, convenience store, hungry cats. The majority of the sonic material is derived from a recording of the poet reading the following three lines of the poem:
the rain has a slap and a curve
the path it falls on curves also
even after the rain you can hear a whisper of rain
The composition is divided into three main sections that explore the sonic possibilities of the source material.(1)

2/ Scatter—2000, for 8-channel tape, 8:48″
Commissioned by the 20th Annual New Music and Art Festival at Bowling Green State University. This multi-channel work for tape is based on recordings of sounds that contain an element of motion. The composition explores the use of sound spatialization as a primary formal determinant. Scatter attempts to surround the listener with events from
every direction that move at varying velocities. The work also explores the composers own multi-channel implementation of granular synthesis that “scatters” sonic grains throughout the multi-channel environment.(2)

3/ l’Horloge imaginaire—2002, for 8-channel tape, 10:30″
an 8-channel tape fantasy based upon clock sounds. The source recordings for this work emanate from a wide variety of clocks including the medieval astrological clock in La cathédral St-Etienne in Bourges, musical clocks of the 19th century, church bells, and clocks of the present day. Exhibiting both ethereal and percussive sonic landscapes, this work presents my interpretation of the sounds we associate with the passage of time. This work was commissioned by the Institut International de Musique Electroacoustique de Bourges (IMEB) and was realized in their studios in Bourges, France.(3)

4/ objet sonore/objet cinétique—2007, for stereo tape, 11:37″
A composition that explores the kinesis/stasis continuum as it relates to sound objects and musical motion. This work exhibits a variety of possible temporal manifestations of sound, navigating the boundaries between motion and rest to create gestures of animation and repose that shape musical structure. I am most grateful to the Institut International de Musique Electroacoustique de Bourges (IMEB) for commissioning this composition and generously providing the utilization of their studios in Bourges, France for the production of this work. objet sonore/objet cinétique was recently awarded second prize in the CIMESP 2007 international computer music competition.(4)

5/ Turbulent Blue—2009, for stereo tape, 9:25″
A certain degree of turbulence is required to initiate any sound, whether this impetus is a whorl of air, a gush of fluid, a surge of friction, or a sudden impact. As a musical instrument responds to this unstable flow, its physical properties provide feedback that reigns in the chaos, stabilizing the sound into a more periodic tone. Using both sampled materials and physical models of sound, this composition strives to create a surreal sonic world in which the real and imaginary coexist. This work was commissioned by the Institut International de Musique Electroacoustique de Bourges (IMEB) and was realized in their studios in Bourges, France. Initial research for the composition was also made possible through a University of North Texas Research and Creativity Enhancement grant.(5)

6/ Illusory Lines—2015, 8-channel fixed media, 10:48″ (excerpt)
An immersive 8-channel composition that utilizes several significant aural illusions to provide the work’s structural underpinnings. Specifically, the work incorporates both Shepard Tones (endless glissandi) and Risset Rhythms (endless accelerando/ritardando) that are featured prominently in several large sections of the work. The surface of the composition includes physically modeled strings and meshes/plates as well as samples from an accordion, a double bass and bees, exploring the inter-relationships between these seemingly divergent synthetic and concrete sound worlds. Spatialization strategies highlight a variety of structural moments while creating a rich sense of location within space.(6)

(1)recording released in November 1998 on the Centaur label’s Consortium for the Distribution of Computer Music (CDCM) CD Series, Volume 27, “CEMIsonics: The Threshold of Sound,” CRC 2407.
(2)recording released in October 2001 on the American Composers Forum “Sonic Circuits IX” compact disc (Innova 118).
(3)released in 2005 on the Society for Electro-Acoustic Music in the United States “Music from SEAMUS 14” compact disc (EAM 2004).
(4)released in 2010 on the Society for Electro-Acoustic Music in the United States “Music from SEAMUS 19” compact disc.
(5)released in 2015 on the APEM/CIME (Archiving and Preservation of Electroacoustic Music/Confédération Internationale de Musique Electroacoustique) label for the Miso Music Portugal 2015 Festival CD.
(6) Not yet on CD.

Produced by: Roland Kuit
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  #8 (permalink)  
Oud 28-07-2016, 13:46
Geregistreerd: Jun 2013
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Standaard Re: The Game Changers

Wanneer gemist dan is hier de luisterlink:
Concertzender Player
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  #9 (permalink)  
Oud 28-07-2016, 21:44
Vintage Member
Geregistreerd: Mar 2007
Locatie: Aalten, Achterhoek
Berichten: 3,457
Reputatie: bert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerdbert stoltenborg wordt alom gerespecteerd
Standaard Re: The Game Changers

Ik krijg allemaal sympathieke folkmusic van Steeleye Span, Fairport Convention (met de geweldige Jerry Donahue) et cetera, maar ik denk niet dat jij ons de vele mogelijkheden van de pentatonische scale wilt demonstreren, Roland.
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  #10 (permalink)  
Oud 29-07-2016, 07:44
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Reputatie: Roland Kuit is op goeie weg
Standaard Re: The Game Changers

Ha Bert,

Nee, dat niet.
(Mijn tweelingbroer Arie Kuit heeft de pentatoniek uitgebreid beschreven hier:

Ik onderzoek de weg van de klank omdat ik dit interessanter vind. Ook de compositionele mogelijkheden zijn uitgebreider doordat men elektronisch fijnmaziger kan werken.
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