You bought a Universal Audio Apollo or a UAD PCI card so you got a bunch of free plugins with it. These are great plugins, it's important you should explore them thoroughly. In this 45 minutes video, Fab Dupont takes you on a quick but thorough tour of everything you need to know to make the most of the professional tools included int hr Analog Classics Bundle. From the 1176 to the very flexible RealVerb Pro, Fab explains all the controls, the obvious one and the not so obvious ones, and shows you how to use them as they were intended.
The Lifeboats series is going to be a unique chance to see how the pureMix mentors each approach the same song with their own unique vision for the mix. See how Grammy winners Fab Dupont, Andrew Scheps and Mick Guzauski shape Will Knox's song with their own tastes and creativity. In this first installment of the Lifeboats series, Fab Dupont challenges himself to leave his familiar home of Pro Tools for a mixing adventure in Cubase 8 using only the built in plugins and Cubase channel strip.
Avril 2011, à Nantes, une femme, quatre enfants et deux chiens sont retrouvés enterrés sous la terrasse de leur maison. Seul manque le père de famille, Xavier Dupont de Ligonnès, désormais principal suspect. Tandis que l'enquête piétine, les théories se multiplient sur les réseaux sociaux, dévoilant l'intimité du fugitif. …
Ludwig (or Léon) Minkus does not rank very high on anyone’s list of distinguished composers, but his music nonetheless survives thanks to the tuneful scores he turned out for the ballet, particularly for the choreographer Marius Petipa. And it is probably Don Quichotte that is the best-known today, closely followed by La Bayadère . Until the Russian ballet companies began touring the West in the 1950s and 60s, audiences knew only the pas de deux, which was a staple of many a touring company. But once the Kirov and Bolshoi showed us that there was considerably more to the work, productions began to proliferate. Rudolf Nureyev even made a full-length film of the ballet almost 50 years ago with the Australian Ballet Company, which allows us to see the captivating Lucette Aldous. He then went on to stage the piece for many other companies, including the Paris Opera. Aside from the fact that today we don’t know how much of Don Quichotte is actually the work of Petipa, as it was revived and revised by Alexander Gorsky, among a great many others, rendering meaningless the credit “based upon Marius Petipa,” what Nureyev gives us is his version of the ballet as danced by the Kirov during his time with that company.
In 1974, British choreographer Kenneth MacMillan in turn decided to focus on the two protagonists for an ambitious ballet that could translate the feelings and emotions of two souls abused by the accidents of life and their own personal weaknesses. In short, how a young girl on her way to a convent manages to elope with the young student with whom she has just fallen in love, only to leave him to escape destitution and finally allow herself to be persuaded by her brother Lescaut to yield to the advances of wealthy “protectors”. Accused of prostitution and deported to Louisiana, Manon is rescued by Des Grieux. Driven to murder by Manon’s jailer, he escapes with her into the marshes where the young girl ultimately succumbs. Although sincere, the love that Manon and Des Grieux share for each other cannot stand up to the vagaries of existence. As a result, neither is able to escape moral or social decline. Rather than reuse the score of Massenet’s opera, MacMillan entrusted Leighton Lucas with the task of arranging a series of extracts taken from a selection of the French composer’s operatic, symphonic and vocal scores… The end result was a huge success from its debut performance in London in 1974 onwards.
In 2000, seventeen years after George Balanchine’s death, a rare and precious ballet arrived at the Paris Opéra: Jewels, a work first performed by the New York City Ballet in 1967. This alluring, abstract ballet, a triptych in which each piece sparkles with the brilliance of a precious stone, is a lyric tribute to women and to the capital cities of the great dance schools. Couturier, painter and craftsman Christian Lacroix created the glorious costumes and sets which, together with the outstanding performances of the dancers and the sensitive musical direction of Paul Connelly, results in a celebration of sumptuous splendour.
TDK presents Pierre Lacotte’s landmark reconstruction of the Romantic Ballet La Sylphide, long regarded as a classic in its own right. The original choreography by Philippe Taglioni had changed ballet forever. It introduced constitutional features of Romantic Ballet as we know it. These include dance en pointe and the tutu, which most certainly owe their omnipresence in ballet to the success of the 1832 staging of La Sylphide in Paris. Everything about the event combined to transform the ballet into a magical spectacle: the libretto, inspired by romantic literature, the bucolic exoticism of the village wedding festivities, the dramatic realism of the Sylvan forest, the eerie halo of the gas lights, the aerial flights of the dancers, the long diaphanous tulle costumes, and the ballerina’s variations en pointes. Through this work, ballet master Philippe Taglioni managed to achieve a magical fusion between mime and artistic dance in a light and flowing style that gave birth to the first “white” act in the history of ballet. Pierre Lacotte’s 1972 reconstruction returned to the very roots of Taglioni’s work. Whilst writing a book on romantic ballet in 1968, he had discovered documents about Philippe Taglioni‘s 1832 La Sylphide, which enabled him to reconstruct the work.