From Biography of T42: T42 is a pop-dance project conceived by Graziano Pegoraro, one of the most famous italian dance writers, and produced by Mario Fargetta, from The Tamperer, one of the most important deejay and producers in the world.
The track for the summer 2003 is titled “Too much”. It is the first T42 track with a new vocal guest, without Sharp. She, in fact, will soon release another track to carry on her solo career.
In case you’re wondering: yes, I was that one “new vocal guest”
I did not even knew about it being released… before this evening.
NOTE: I have tried several styles to approach the song… and finally Graziano asked me to go like… well… like 1 octave higher even if this meant doing it all on “Fake-High” (Falsetto) (hell… what’s the english word for this?)
I guess he liked that weird style because it’s what you hear listening to the short snippet…
Dunno, the Dutch word for it is “kopstem” (Which also has Falset as a synonim)
It’s the highest register of the human’s voice and usually is above a range of frequencies the person cannot sing (easily). So that’s why the voice bumps from one frequency to the highest one. It can be trained, but i’m not a singing teacher so i don’t know how that technique works.
“fal chetto” doesn’t very english to me… Btw, in Swedish it’s “falsett” Btw2, did you know that wikings could speak to and understand englishmen back at the time…
Thanks
I now have the “real” track… so I had a listen to it all… and well, there is an intro I really DON’T like. I sound more gay than I could ever imagine!
But surprisingly, the bridge is not bad at all!
The point, as far as Graziano Pegoraro himself tried to explain me, is that in the commercial dance music world there is no such thing as “I’ve done that” which is indeed very normal outside. There is splitting between the image and the artist itself… so when you listen to a studio song… and when you listen to the live show in a disco, sometimes you are very likely to listen to 2 different artists even if this is not reported. If you want to be credited as an “artist” there must be a whole “dance project” on you… and there was no such a project on me.
When you’re called in as a musician/singer… you do your job quick and easy, you get paid, they do what they want with the stuff. This is called (here) a simple “turn” (not the -turn around- kind… the -it’s your turn- kind)
Sometimes it’s a big hit and they ask you to sign in for the next track as “front artist”… some other times someone else will enjoy the benefits of your skill in singing… some other times you simply work for a faceless “project”… like “T42”.
As a “turnist” you can hope your production will go as good as possible because that will make good “portfolio”.
I went there at Graziano’s home (there is where he records and compose) and did my part… and received money for that. From that moment on, the samples with my voice aren’t “My” property anymore… and I’m not even supposed to be credited if they have specific projects for that… more or less like it happened in this case. Otherwise I should be presented as new artist, signing a contract as “front artist”… and have my minimum numbers of live show granted, tv appareances, photobook etc…
I have, instead, signed a normal “turnist” contract.
Simply, I’m not supposed to show up as credited anywhere… but nobody, expecially Graziano Pegoraro himself, will ever deny that I did that “Turn” for him or deny that the voice you hear in “Too Much” belongs to me.
(xpecially since I still hold somewhere a copy of my “turnist” contract)
Of course, if you really feel like “No way man, I still can’t believe that” you can always try to reach Graziano himself via email or via some other way… and ask him informations about the lead voice in “Too Much”
Ok. I think you’ve cleared it up for the most part. Don’t take me wrong…the reason for my asking why you aren’t credited anywhere wasn’t because I didn’t believe you. I just found it a bit strange.
So basically, you sold all rights for that specific recording of your voice. If you don’t mind me asking, could you give me a rough estimate as to how much he actually paid you?
If it’s a flat amount, I fear you might have gotten screwed a little. If this song blows up, becomes a hit, and sells millions, you’ll be stuck with your flat cut. The success of the song would largely be due to your voice, but you would not share in the spoils.
Also, just to clear something up from your post…You’re saying that if this track blows up, chances are the next song will be have a “Featuring Parsec” tacked on at the end, right?
Anyway, good luck with everything. I think it’s really cool and interesting that you were able to get your foot in the door of such a renowned producer.
I have never managed to fully understood the whole matter, anyway.
Probably something around 150 - 200 Euros.
Oh no We discussed this. Graziano would quickly come to me and consider the chance of another production with another kind of contract… because people DO like it… it’s a sure-shot somehow for a publisher and any publisher wants to “publish”
If you sell that much there is a lot of people looking for you, live concerts in disco clubs etc etc… even if Graziano is not intended to ask me for a contract despite the millions selling already (i.e. he might think that it wasn’t your voice doing the “winning” part in the whole project)… then you can be sure there is a handfull of small labels ready to produce such a “famous” voice…or at that point you probably can auto-produce on the wave of that certain success.
The fact that the song is uncredited is not relevant… if we’re speaking about the case that’s the voice that scored right then I’m the only able to make -that- peculiar voice in another track…
Well… we’re speaking about a commercial-dance project published in summer of 2003… it definitely did not had such huge success we’re discussing here
Anyway… you’re right saying: “chances are”.
I have no real way to foresight the future decisions of Graziano or Fargetta so I can’t really say that for sure not even with the million copies selling. Having a “Featuring Parsec” would mean a whole dance project based on me, my image, my voice, etc… (and someone willing to produce the whole thing).
Obviously… more success = higher chances
Peace!
Btw2, did you know that wikings could speak to and understand englishmen back at the time…
(and yes, this car sucks)
But all in all it’s a “very old school” and those terms are not very common in a, say, daily Renoise action… 
LOL 
