I would love to hear from fans of this band who have seen them live in concert. This HAS GOT to be one of the most sincere performances that an audience could hear. This in incredible!
çok güzel müzik , babamada dinlettim ve o da begendi sizi , sevgiler ve sevgiler bu arada kiz ' frontman '' (yada frontwoman daha dogrusu ) çok tatli ya , yanaklarindan tutup sevesim var , asiri tatli çikmis bu repertuvarda , spread the love and spread the peace
The songs open with a robust bass riff. Verhulst uses a Hagstrom H-2 4-string solid-body electric bass guitar with a rosewood fingerboard and a maple body fitted with two oversize single-coil pick-ups which sound as though their tone and volume controls are fully open. Verhulst plays this chordophone with round-wound strings, a plectrum and a mixture of palm damped notes with undamped accents. The bass tone is clean and dry but thick and aggressive with a character somewhere between the split-humbucker tone of a Fender Precision and the single coil of a 4000 series Rickenbacker. There’s no sign of bass amplification, so it seems that the bass has been directly injected to the recording pre-amplifiers. The colourful tone and punchy response of the bass suggest that a parametric mid-range cut (approx. -7dB @ 600Hz-1.2kHz) and an aggressive compressor/limiter (e.g., Urei 1178, slow attack/fast release @ 4:1) have been applied to the basses D.I. feed and this process is probably handled by software (e.g., VST, AU, AAX, X32 plug-ins). The basses’ strings are the primary vibrator here and though the instruments body is the true secondary vibrator this role is somewhat diminished by the use of direct injection and post processing. There’s no sign of electronic secondary vibrators such as backline, wedges, side-fills or front-of-house speakers and most of the band are using headphones so one suspects that the only sound onstage is the acoustic spill from the drums, percussion, vocals and bağlama and that the bass is alamost inaudible in the live-room without headphones. The next instrument to join the introduction (0m04s) is a classic ‘Roland TR-808’ style handclap which is in unison with the snare drum for the first part of this performance (‘Maçka Yollari’) and is played by Daşdemir on a Roland SPD-1 hand triggered sample player. This digital electrophone plays a handclap sample which is directly injected and mixed with a hall-reverb (approx. 2s RT-60 with 20ms pre-delay). The instruments primary vibrator could be said to be the electronics that replay its samples and that its secondary vibrator is the speaker used in its amplification. This instrument is inaudible in the live area without foldback. At 0m08s Smienk introduces drums and Bruining starts the percussion with a mixture of idiophones where the primary vibrator is a plate or bell (cymbals and cowbell) and membranophones (bass drum, snare drum and tom-toms) where the batter head is the primary vibrator while the shell and carry head are secondary vibrators. The drumkit appears to be a Ludwig Classic re-issue 4 shell kit with 7-ply maple shells and 4 bronze cymbals (hi-hats, crash and ride) and it is close-miked with an AKG D-12 moving-coil microphone on the carry head of the bass drum, a pair of AKG C-414 large diaphragm condenser microphones as overheads and three unidentified moving-coil microphones close miking the batter head of the snare drum and tom-toms. The percussion is all close miked with a selection of clip-on microphones for the congas and free-standing microphones for the tambourine, shakers, cowbell and bongos. The drums and percussion are playing crisp and controlled dancefloor riffs and are mixed dry and close with minimal reverberation. There are no ringing harmonics in the decay of the membranophones (most easily heard at the drum-fill at 3m50s) which indicates that their most wild harmonics and overtones are damped either internally with adjustable damping pads or are being controlled with strips of tape. This ‘tidy’ drum-production works well with the style of these songs as it places emphasis on intimacy and rhythmical punch rather than density and power and leaves space to form a very precise union with the percussion and pick-bass. At 0m36s Bruining switches from cowbell to congas which are hand struck membranophones where the batter heads (one of which is visibly damped with gaffa-tape) are the primary vibrators and the ash shells are the secondary vibrators. Bruining sticks to congas until the start of ‘Hey Nari’ (3m35s) where he skilfully introduces a double-shaker idiophone without interrupting the flow of the conga pattern. At 3m54s Bruining makes another slick switch from shaker with one-handed congas to tambourine with one-handed congas. The tambourine is another idiophone with small metal jingles in its rim as the primary vibrator but in this instance, it is shaken rather than struck and adds a hint of swing to ‘Hey Nari’ (4m34s onwards). The entire percussion stem has been mixed with very little reverb and one suspects that the drums and percussion might be sharing a subgroup with a snappy sounding limiter inserted to add punch and bind them together. Bruining doesn’t play his bongos in this performance. At 0m17s the electric guitar chordophone starts with a simple palm-muted riff around G3 and played with a plectrum. The nickel wound steel strings of the guitar are the primary vibrator while the role of secondary vibrator is split between the guitars solid-wooden body and its amplification. As with the bass there are no visible guitar speakers. The electric guitar is being directly injected and monitored via headphones so the audibility of the instrument alongside a live drumkit is reliant on foldback. The bulk of the work done to the instrument’s tone is carried out by an array of footswitch activated effects pedals on the floor by the guitarist’s feet. The snappy and sweeping tone of the guitar’s introduction suggest that a compressor/limiter is controlling its dynamic range while a modulation effect, such as a phaser, is being employed to give the instrument a sense of movement by imitating the doppler effect. The electric guitar continues through the two titles with predominantly chordal work but Elzinga introduces the occasional variation. At 1m42s the guitar plays a low, palm-damped, staccato single note riff (in octave 3) and at 2m42s he plays another similar phrase. At 5m the guitar (in octave 3) and bass (in octave 2) play a palm-damped, staccato single note riff in unison that lasts ten seconds. These are small variations, but they help sustain interest At 1m35s we briefly hear the first electrophone keyboard (I have been unable to see it’s manufacturer or model) playing short, brassy double-stops (F3 and B♭3) between vocal lines and at 3m54s we hear this keyboard again, but Daşdemir has selected a slightly different pre-set for this second segment. I found this second synthesizer segment difficult to hear clearly so I decided to record a wav file of the UA-cam broadcast (with a loop back recording of my computers output) and opened the file in Spectralayers. This software allowed me to remove the drums, bass and vocals and revealed the keyboard to be a piano type of tone but with an unorthodox amplitude envelope, vibrato and pitch modulation effect. The modulation combined with a spacious and pitch sensitive reverb (probably an internal reverb built into the synthesizer) helps to give a sense of depth and thickens an otherwise flimsy tone whilst clearly defining the synthesizer as a separate timbre. At 4m34s Daşdemir finally plays the Yamaha Reface DX synthesizer with a classic, heavily chorused half-bell and half woodwind style of analogue synthesizer patch found on many 1980’s pop recordings. The Reface DX is a digital electrophone and a modern take on the classic Yamaha DX digital synthesizers from the 1980’s (see fig.2) and this tone shows how effectively the Reface DX recalls these distinctive patches. The use of this tone in this context works similarly to the wah-wah work on the bağlama as it introduces a new tonal flavour to the production and effectively cleans the sonic pallette and enables the performance to return to its main theme without seeming to over-use its motif. The Reface DX has its own selection of reverberation, delay, modulation and distortion effects and Daşdemir has put these to good use in creating this rich and atmospheric tone. Fig. 2 Yamaha DX-7 Finally, the whole mix has been passed through master equalization, stereo imaging and dynamics control (multiband compression) to ensure that the mix profile sits well alongside other professional work. The technical style of this video is reminiscent of a classic ‘in-session’ television production. One can see occasional interactions between the band and an out-of-shot audience or technician which brings a live atmosphere and spontaneity to the performance. Recording and filming a band of six in such a small space with no isolation rooms can be fraught with separation issues but Altın Gün have overcome this by dispensing with backline and using headphones rather than power amplification. By eliminating most of the spillage that normally occurs when instruments, backline and microphones share a small performance space Altın Gün have made a recording that uses normally high-powered instruments (drumkit, electric guitar and electric bass) alongside traditional acoustic instruments (bağlama, congas, shakers, tambourine and vocals) without any audible compromise on the authenticity of any of their classic tones. Careful use of foldback (each musician seems to have their own mixer for this) has facilitated good timing and tuning. I have listened to the official studio versions of both titles, and it seems that Altın Gün deliver a respectable live interpretation of their recordings using relatively inexpensive resources
Mükemmel bir grup, mükemmel şarkılar diye sevinirken sanki nazar değdi, ilk firesini vermemiştir umarım. Davul & Vurmalı Yerel Çalgılardaki genç arkadaş değişmiş gibi :( While I was happy that they were a perfect group, perfect songs, it was as if the evil eye was worth it, I hope it didn't give its first fire. The young friend in Drum & Percussion Local Instruments seems to have changed :(
Unbeatable . 🇭🇷 ❤ you. Balkan bros....and sisters. Mashala!
Memleketimin Türküsü.. Almanyadan Hollandaya ve Macka/Trabzona selamlarr:)
It's been almost 1 year since I've discovered Altin Gun and they're still on my daily playlist.
France loves this funky song 🇫🇷
I Just discovered them yesterday! So grateful learning about bands like this and experiencing their music!
Highly recommend their song Surpugesi Yoncadan, Goca Dunya, Ordunun Dereleri (the Orchestra one)
...a friend told me today,same feeling!..l.o.v.e.
Bass çocuk ❤❤❤ mükemmell
I'm so glad that I discovered Altın Gün
Another one from Altin gun ❤ U give me pleasure, thank ya ❤
Definitely the most outspoken tracks of the discography.
Love love love this trippy Turkish awesomeness ❤️
When a bunch od talents from different music backgrounds unit together it looks like this 😎
WHAT A BAND!
Funky psychedelic sound meets Turkish delight = Altin Gun
What a perfect mix
There are actually many original Turkish psychedelic songs from 60s and 70s.
Hopelijk zie ik deze band weer snel op een podium. Geweldige set van Altin Gun
I would love to hear from fans of this band who have seen them live in concert. This HAS GOT to be one of the most sincere performances that an audience could hear. This in incredible!
Saw them a few months ago in St Malo. Freshest and best thing I've heard in years. Very hypnotic too.
They’re actually better on a stage than in this video. I think the singer is toning down his voice a bit here.
I saw them on A38 Budapest. They are brutally good live!!
They are very tight band soooo good
I travelled to Frankfurt to enjoy them live. Now I understand why they are touring so much :)
Siz harika bir grupsunuz yaşattınız tüm pozitif duygular için teşekürler :)
"Hey Nari" bugüne kadar dinlediğim en iyi düzenlemelerden biri, kesinlikle muhteşem !!
çok güzel müzik , babamada dinlettim ve o da begendi sizi , sevgiler ve sevgiler
bu arada kiz ' frontman '' (yada frontwoman daha dogrusu ) çok tatli ya , yanaklarindan tutup sevesim var , asiri tatli çikmis bu repertuvarda , spread the love and spread the peace
No clue what's he sings but it's cool as f.ck..
Same Denis Same!
Harika olmus her gun dinliyorum ise giderken.
Thank you for the good vibes =)
*70's beats a minute - perfect pulse..*
This version is still the best I could find. Needs a remastering and put on an album.
大好きです。
such an elegant sound. Thank you for this music guys!
Heerlijke band dit! Die Oosterse ritmes swingen de pan uit
de pan uit swingen is idd een nice benaming hiervoor 😂 hele nice band van nederlands komaf
The songs open with a robust bass riff. Verhulst uses a Hagstrom H-2 4-string solid-body electric bass guitar with a rosewood fingerboard and a maple body fitted with two oversize single-coil pick-ups which sound as though their tone and volume controls are fully open. Verhulst plays this chordophone with round-wound strings, a plectrum and a mixture of palm damped notes with undamped accents. The bass tone is clean and dry but thick and aggressive with a character somewhere between the split-humbucker tone of a Fender Precision and the single coil of a 4000 series Rickenbacker. There’s no sign of bass amplification, so it seems that the bass has been directly injected to the recording pre-amplifiers. The colourful tone and punchy response of the bass suggest that a parametric mid-range cut (approx. -7dB @ 600Hz-1.2kHz) and an aggressive compressor/limiter (e.g., Urei 1178, slow attack/fast release @ 4:1) have been applied to the basses D.I. feed and this process is probably handled by software (e.g., VST, AU, AAX, X32 plug-ins). The basses’ strings are the primary vibrator here and though the instruments body is the true secondary vibrator this role is somewhat diminished by the use of direct injection and post processing. There’s no sign of electronic secondary vibrators such as backline, wedges, side-fills or front-of-house speakers and most of the band are using headphones so one suspects that the only sound onstage is the acoustic spill from the drums, percussion, vocals and bağlama and that the bass is alamost inaudible in the live-room without headphones.
The next instrument to join the introduction (0m04s) is a classic ‘Roland TR-808’ style handclap which is in unison with the snare drum for the first part of this performance (‘Maçka Yollari’) and is played by Daşdemir on a Roland SPD-1 hand triggered sample player. This digital electrophone plays a handclap sample which is directly injected and mixed with a hall-reverb (approx. 2s RT-60 with 20ms pre-delay). The instruments primary vibrator could be said to be the electronics that replay its samples and that its secondary vibrator is the speaker used in its amplification. This instrument is inaudible in the live area without foldback.
At 0m08s Smienk introduces drums and Bruining starts the percussion with a mixture of idiophones where the primary vibrator is a plate or bell (cymbals and cowbell) and membranophones (bass drum, snare drum and tom-toms) where the batter head is the primary vibrator while the shell and carry head are secondary vibrators. The drumkit appears to be a Ludwig Classic re-issue 4 shell kit with 7-ply maple shells and 4 bronze cymbals (hi-hats, crash and ride) and it is close-miked with an AKG D-12 moving-coil microphone on the carry head of the bass drum, a pair of AKG C-414 large diaphragm condenser microphones as overheads and three unidentified moving-coil microphones close miking the batter head of the snare drum and tom-toms. The percussion is all close miked with a selection of clip-on microphones for the congas and free-standing microphones for the tambourine, shakers, cowbell and bongos. The drums and percussion are playing crisp and controlled dancefloor riffs and are mixed dry and close with minimal reverberation. There are no ringing harmonics in the decay of the membranophones (most easily heard at the drum-fill at 3m50s) which indicates that their most wild harmonics and overtones are damped either internally with adjustable damping pads or are being controlled with strips of tape. This ‘tidy’ drum-production works well with the style of these songs as it places emphasis on intimacy and rhythmical punch rather than density and power and leaves space to form a very precise union with the percussion and pick-bass. At 0m36s Bruining switches from cowbell to congas which are hand struck membranophones where the batter heads (one of which is visibly damped with gaffa-tape) are the primary vibrators and the ash shells are the secondary vibrators. Bruining sticks to congas until the start of ‘Hey Nari’ (3m35s) where he skilfully introduces a double-shaker idiophone without interrupting the flow of the conga pattern. At 3m54s Bruining makes another slick switch from shaker with one-handed congas to tambourine with one-handed congas. The tambourine is another idiophone with small metal jingles in its rim as the primary vibrator but in this instance, it is shaken rather than struck and adds a hint of swing to ‘Hey Nari’ (4m34s onwards). The entire percussion stem has been mixed with very little reverb and one suspects that the drums and percussion might be sharing a subgroup with a snappy sounding limiter inserted to add punch and bind them together. Bruining doesn’t play his bongos in this performance.
At 0m17s the electric guitar chordophone starts with a simple palm-muted riff around G3 and played with a plectrum. The nickel wound steel strings of the guitar are the primary vibrator while the role of secondary vibrator is split between the guitars solid-wooden body and its amplification. As with the bass there are no visible guitar speakers. The electric guitar is being directly injected and monitored via headphones so the audibility of the instrument alongside a live drumkit is reliant on foldback. The bulk of the work done to the instrument’s tone is carried out by an array of footswitch activated effects pedals on the floor by the guitarist’s feet. The snappy and sweeping tone of the guitar’s introduction suggest that a compressor/limiter is controlling its dynamic range while a modulation effect, such as a phaser, is being employed to give the instrument a sense of movement by imitating the doppler effect. The electric guitar continues through the two titles with predominantly chordal work but Elzinga introduces the occasional variation. At 1m42s the guitar plays a low, palm-damped, staccato single note riff (in octave 3) and at 2m42s he plays another similar phrase. At 5m the guitar (in octave 3) and bass (in octave 2) play a palm-damped, staccato single note riff in unison that lasts ten seconds. These are small variations, but they help sustain interest
At 1m35s we briefly hear the first electrophone keyboard (I have been unable to see it’s manufacturer or model) playing short, brassy double-stops (F3 and B♭3) between vocal lines and at 3m54s we hear this keyboard again, but Daşdemir has selected a slightly different pre-set for this second segment. I found this second synthesizer segment difficult to hear clearly so I decided to record a wav file of the UA-cam broadcast (with a loop back recording of my computers output) and opened the file in Spectralayers. This software allowed me to remove the drums, bass and vocals and revealed the keyboard to be a piano type of tone but with an unorthodox amplitude envelope, vibrato and pitch modulation effect. The modulation combined with a spacious and pitch sensitive reverb (probably an internal reverb built into the synthesizer) helps to give a sense of depth and thickens an otherwise flimsy tone whilst clearly defining the synthesizer as a separate timbre. At 4m34s Daşdemir finally plays the Yamaha Reface DX synthesizer with a classic, heavily chorused half-bell and half woodwind style of analogue synthesizer patch found on many 1980’s pop recordings. The Reface DX is a digital electrophone and a modern take on the classic Yamaha DX digital synthesizers from the 1980’s (see fig.2) and this tone shows how effectively the Reface DX recalls these distinctive patches.
The use of this tone in this context works similarly to the wah-wah work on the bağlama as it introduces a new tonal flavour to the production and effectively cleans the sonic pallette and enables the performance to return to its main theme without seeming to over-use its motif. The Reface DX has its own selection of reverberation, delay, modulation and distortion effects and Daşdemir has put these to good use in creating this rich and atmospheric tone.
Fig. 2 Yamaha DX-7
Finally, the whole mix has been passed through master equalization, stereo imaging and dynamics control (multiband compression) to ensure that the mix profile sits well alongside other professional work.
The technical style of this video is reminiscent of a classic ‘in-session’ television production. One can see occasional interactions between the band and an out-of-shot audience or technician which brings a live atmosphere and spontaneity to the performance. Recording and filming a band of six in such a small space with no isolation rooms can be fraught with separation issues but Altın Gün have overcome this by dispensing with backline and using headphones rather than power amplification. By eliminating most of the spillage that normally occurs when instruments, backline and microphones share a small performance space Altın Gün have made a recording that uses normally high-powered instruments (drumkit, electric guitar and electric bass) alongside traditional acoustic instruments (bağlama, congas, shakers, tambourine and vocals) without any audible compromise on the authenticity of any of their classic tones. Careful use of foldback (each musician seems to have their own mixer for this) has facilitated good timing and tuning. I have listened to the official studio versions of both titles, and it seems that Altın Gün deliver a respectable live interpretation of their recordings using relatively inexpensive resources
Outstanding. Thanks for the breakdown. 👍
Hayatımda gördüğüm en iyi yorum
işte bu TÜRK ANADOLU MÜZİĞİ .. devam ... ♥ TR ♥
¡Wow suena bien!
Love them!
This is next level❗️
Hopelijk ook weer een studiosessie bij KEXP?
Uhhh Friday vibes!!
That‘s great man
Yesss more Turkish music!
Damn they're good.
Hey Nari to you all !
Maçka yolları taşlı, geliyor kalem kaşlı
Ne oldu sana yavrum, böyle gözlerin yaşlı
Find yourself someone that looks at you the way Merve looks at Erdinç at 5:44
Vallah çok güzel müzik! 🙃ba^glama bey!🦁
Jasper - Meister des Basses und der blinkenden Wade.
new guitarist with new haircut 💇🏼♂️
very very well ,,,,,,,..............................................
Perküsyondaki çinçinli bebe nerde
allahım gömleğe bak, erdinç çok çok harikasın
Harbiden ya giyinisi cok guzel
Loveeee it....
Bravo
Yes yes, it's me, I'm doing all the views.
Vallah çok güzel müzik.
Mükemmel bir grup, mükemmel şarkılar diye sevinirken sanki nazar değdi, ilk firesini vermemiştir umarım. Davul & Vurmalı Yerel Çalgılardaki genç arkadaş değişmiş gibi :(
While I was happy that they were a perfect group, perfect songs, it was as if the evil eye was worth it, I hope it didn't give its first fire. The young friend in Drum & Percussion Local Instruments seems to have changed :(
Awesome :)
Is that Matt Berry on the bass?
Can i work at your radio station please, free of charge
Where are Gino and Ben? ☹️
Süper otesi
The guitarist and the percussionist are unfamiliar. Change of band members?
Korona olmuşlar herhalde
Gitarist yeni. Ben Rider gruptan ayrıldı. Perkusyondaki eleman da Nino'nun uygun olmadığı zamanlarda yedekten giriyor.
Gino left, Ben kicked out
@@merelteuling995 do you know why?
Cansiniz siz ya umarim tum dunya adinizi duyar 🫶🏼
Basçi iyi
1. Altin Gun
2. Sababa 5
3. Mdou Moctar
The Hound is the bassist? xD
Çok havalı 🤘🏼
İnanılmaz
Does anyone know the name of the guitarist?
Here he's featured in the line up: ua-cam.com/video/mcf0LHvjjLM/v-deo.html
Hey nariyi hard rock düşündüm bir an
Two new Band Member?
Why the band member changes everytime?
drugs
6:03
Ahh no more Ben? :(
he has left the band
Gino also?
@@asltopcu5660 😞
@@roymacdaniel9924 i dont know but i dont think Gino left the band.
Gino left, Ben kicked out
Eurovision teklifi etmeyen akla şaşmak lazım.
Nefis
🇹🇷🇹🇷🇹🇷🇹🇷🇹🇷🇹🇷🇹🇷
Ofoffffffffffffffffff 😂
Payment: PayPal
Altin Gün
München, TONHALLE
Thursday, 25.11.2021, 8:00 PM
Altın gün. Aysun kocatepenin' hadi gari' parçasını cover layın. Bence Mervenin sesine iyi gider. Tarzınızda. ERdinç de vokal yapabilir. Tasiye!
❤❤❤❤❤❤💌💌💌💌💌💌💌💌🙋♂️🙋♂️🙋♂️
öteki gitarist iyidi, kafası dumalı bi hali vardı, seviyor ot'u belli
Akıyor.
Şopar perküsyoncu nerde.
Guitarist like Jimmy Page playing Kashmir
TAZ
Heel gay dit
ok.
Anyone know the name of the instrument the singer is playing?
Baglama
@@MusicDawg7 Thank you.
@@johnaylward6467 other name " saz "