Chayanne - Si Nos Quedara Poco Tiempo
Chayanne, one of the most successful pop stars of Puerto Rico with more than 10 million records sold worldwide, had international hits like Tiempo de Vals, Tu Pirata Soy Yo and Y Tu Te Vas. In April 2007 the latin star released his 20th album called Mi Tiempo (My Time).
The first single of the album is Si Nos Quedara Poco Tiempo which went to number 1 in Argentina and in Chile and was a top ten hit in other latin american countries. It’s a ballad about the thought “if there’s little time left for us and I have not said enough that I adore you with my life”.
Si Nos Quedara Poco Tiempo is a great song and inspires thinking about the ones we love.
Video Clip Chayanne - Si Nos Quedara Poco Tiempo
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Lyrics - Si Nos Quedara Poco Tiempo - Chayanne
De vuelta a la rutina, nos vestimos sin hablarnos.
La prisa puede más que la pasión.
Me pesa cada dÃa, los recuerdos y los ratos, como dardos clavan este corazón.
Y la melancolÃa me ataca por la espalda sin piedad.
Y de pronto me pongo a pensar…
Y Si nos quedara poco tiempo, si mañana acaban nuestros dias.
Y Si no te he dicho suficiente, que te adoro con la vida.
Y Si nos quedara poco tiempo. Y Si no pudiera hacerte más el amor.
Si no llego a jurarte, que nadie puede amarte más que yo.
La tarde muere lento, y las horas me consumen.
Estoy ansioso por volverte a ver.
No puedo comprenderlo.
Como fue que la costumbre, cambió nuestra manera de querer.
Y la melancolÃa me ataca por la espalda sin piedad.
Y de pronto me pongo a pensar…
Y Si nos quedara poco tiempo, si mañana acaban nuestros dias.
Y Si no te he dicho suficiente, que te adoro con la vida.
Y Si nos quedara poco tiempo. Y Si no pudiera hacerte más el amor.
Si no llego a jurarte, que nadie puede amarte más que yo.
Nadie sabe en realidad, que es lo que tiene.
Hasta que enfrenta el miedo de perderlo para siempre.
Y Si nos quedara poco tiempo, si mañana acaban nuestros dias.
Y Si no te he dicho suficiente, que te adoro con la vida.
Y Si nos quedara poco tiempo. Y Si no pudiera hacerte más el amor.
Si no llego a jurarte, que nadie puede amarte más que yo.
More songs of Chayanne:
Chayanne es numero 1
en el Billboard Hot Latin Songs Chart
“Si nos quedara poco tiempo”, el primer sencillo del nuevo álbum de Chayanne, “Mi Tiempo”, ha alcanzado la primera posición en el Billboard Hot Latin Songs Chart.
Este nuevo éxito de Chayanne se suma a “Fuiste Un Trozo De Hielo En La Escarcha”, “Completamente Enamorados”, “Dejaría Todo”, “Yo Te Amo”, “Y Tu Te Vas”, “Un Siglo Sin Ti” y “Cuidarte El Alma” de su disco “Desde Siempre” (2004), el que había sido su ultimo número uno.
Sumado a estas noticias para Chayanne y Sony BMG, la canción escrita por Yoel Henriquez-Rafael Esparza , y producida por el argentino José Gentile, se mantiene desde hace tres semanas consecutivas en la primera posición del Billboard Latin Pop Airplay Chart , lo que augura un excelente futuro para el sencillo y para el disco del cantante puertorriqueño.
Por otro lado, el disco “Mi Tiempo” debutó hace dos semanas en el la lista mas importante de álbumes de los Estados Unidos, el Billboard 200, alcanzando el puesto número 42. La mas alta posición lograda por Chayanne en su historia. El éxito se amplifica si tomamos en cuenta que “Mi Tiempo” es un disco grabado totalmente en español compitiendo con álbumes en inglés.
El nuevo álbum del mega estrella latino también ha irrumpido como número 1 en ventas en Argentina y ha debutado ésta semana en el puesto 6 de la lista española, esperándose que también llegue al número uno en las próximas semanas.
El productor José Gentile da su punto de vista acerca del suceso de Chayanne con “Mi Tiempo”: “El secreto de su éxito yo lo resumo en saber transmitir en su interpretación la persona sensible y sencilla que él es. Cada frase y cada respiración representan claramente su honestidad como artista, sus sentimientos hacia sus seres queridos y el gran amor por lo que hace. No muchos artistas lo entienden tan bien como Chayanne, ser uno mismo es la mejor cualidad para ser un artista que perdure exitosamente en el tiempo”.
Sebastián de Peyrecave, co-productor del álbum explica: “A la hora de encarar la producción del disco, no nos quisimos dejar llevar por una idea preconcebida de como debía sonar. Por supuesto que todos conocíamos la música de Chayanne pero tratamos de ser lo mas espontáneo posible y sorpender con nuevas ideas”
“Mi Tiempo” que salió a la venta el pasado abril fue producido por De Peyrecave y Gentile y cuenta con el hacedor de éxitos Estéfano como principal compositor de las canciones.
↓ Quote | Posted 13. June 2007, 07:22hola
↓ Quote | Posted 19. September 2007, 00:51esta bien chebre la musica de chayanne esq el es un idolo en la musica
↓ Quote | Posted 19. September 2007, 00:54From Recording Magazine - Oct 2007
RECORDING WITH LATIN SUPERSTAR AND GRAMMY NOMINEE
CHAYANNE
Producers José Gentile and Sebastián De Peyrecave discuss the making of Mi Tiempo
Chayanne is one the most successful Latin artists in history with a career of more than 20 years. - He’s been wowing audiences for even longer than Recording has! He has topped worldwide charts, starred on stage and screen and packed stadiums in the U.S., Europe and Latin America.
Jose Gentile and Sebastián de Peyrecave is the production team behind Chayanne’s celebrated 20th album: “Mi Tiempo”, and for our 20th Anniversary we were pleased to chat with them about the work behind this 20th record.
Where did the material come from?
Jose Gentile: Some songs were already written by Sebastian, Estefano and Pedro Namerow. Then, during the recording process, I collaborated with them on other songs. More than half of the material was written in the studio, and obviously, we produced those tracks from songwriting to arranging.
The rest of the songs of the album were written by independent songwriters and we produced them according to our concept of the whole album. “Si nos quedara poco tiempo”, the first single of the album, is a good example of that process. The song ended up sounding much more explosive than its softer demo version. Those songs underwent an interesting transformation that reflects our vision of what later became the sound of Mi Tiempo.
What was that vision?
Sebastian de Peyrecave: I think from the start we were looking for a different sound for Chayanne, perhaps a bit of a departure from his previous albums. The way we set out to achieve this was to experiment with uncommon instrumentation and arrangements.
We had faith that as soon as he would record the vocals, Chayanne’s style, which everyone is familiar with, was going to be in each song. We tried to combine Latin elements, which have always been present in his style with our own respective influences. Chayanne wanted to do something special on his twentieth album and he was incredibly open to experimentation and trying out new things.
How and where did you record the rhythm section? How did you select the musicians?
]G: We actually started recording guitars, keys and even vocals before the rhythm section. We emulated the rhythm section with MIDI tracks and samples to consolidate our vision before the guest musicians performed their parts. All of this was done at Estefano’s studio in Miami, Midnight Blue Studios.
Then we moved to Los Angeles to record drums at The Pass Studios with Victor Indrizzo (Macy Gray, Avril Lavigne), who did a magnificent job. The bass was recorded in Boston in a small studio facility called Windigo with my high-school friend and Berklee professor Fernando Huergo (Dave Samuels, Danilo Perez), a great guy and an extraordinary musician. Percussion parts were mostly performed by the great Richard Bravo (Shakira, Christina Aguilera), Sebastian, and Jose Tomas Diaz in Miami.
Thanks to the confidence that Estefano and his Estefano Productions Group had in us, we enjoyed ample freedom to choose the musicians and the studios during this project. This luxury is not very common nowadays due to the industry budget reductions. Each musician who collaborated on this album shares many of the same musical ideas and tastes that we have.
What recording techniques were used for tracking drums and who was the engineer?
]G: Victor Indrizzo brought a Gretsch drumset with a Drum Paradise snare drum that the company builds to order; they call it “Hit Maker” and we ended up using it on all the songs. It is a very versatile snare drum in tuning and timbre. We obtained totally different sounds from song to song just by adjusting the tuning keys.
When it came time to choose an engineer, we decided to call Dave Way because he always is looking for a distinctive and original sound. We wanted drums with personality, so we called a drummer and an engineer with very personal styles. We knew that Victor and Dave had worked together on a Macy Gray album, where they went for a vintage drum sound and we were looking far a “classic” approach of sound treatment as well, mostly in the ballads.
Dave, another Beatles fan like me, likes to combine room mics and use just one overhead mic, a C12 this time. In most cases three pairs of room mics were used: Neumann U87s switched to bi-directional and placed in parallel at about 10′ from the drum set. Other pairs were U89s and Royers placed in different spots of the recording room. This setup gave us many options of drum sounds for mixing. We were able to hear how the sound was changing from song to song, thus fitting the appropriate color needed far each track.
An inverted Yamaha NS10 speaker cone was placed right in front of the kick drum to capture low frequencies and an AKG D30 mic was used for the beater; a Shure SM57 over the snare and a condenser under it. Dave varied the use of room mics, especially in “Juicio Final”, where we wanted a different sound from the verse to the pre-chorus. Victor even used two rides on the hi-hat stand to change the sound of that section of the song. We wanted “Indispensable” to sound like the classic fat and warm snare of late ’60s or early ’70s. Dave enjoyed re-creating that drum sound using mostly close miking on the set, with kitchen towel paper on the drums and Victor’s good taste-he mastered the style with total confidence.
Let’s talk about the guitars.
]G: I used a Fender American Deluxe Telecaster on all the songs except on “Cuestion de Feeling” where I played a Floyd Rose. Sebastian and I decided to go for a classic tone on the guitars. We wanted the ballads to sound timeless, so that we can enjoy them many years from now.
We barely used guitar amps. I ran the Telecaster through an API pre directly into Pro Tools I/O192 with Native Instruments Guitar Rig 2 open. The luxury of switching from a JCM800 to a Twin Reverb with the click of a mouse is priceless - although, as in any
guitar setup, you have to find your own effect combinations and create your own presets to get your personal sound. My Taylor 414 acoustic sounded fantastic through an old AKG 414 and a Neve 1081 pre.
Andrew Synawiec (Marc Anthony, Jennifer Lopez) used a Tom Anderson Classic Stratocaster, a PRS Custom 24 and a Gretsch 6120 with an Aiken Sabre head to a Bogner Cube cabinet. For Andrew’s guitar tracking, we hung a Shure SM57 over the cabinet that was facing up in a closet, then we took it to a Brent Averill 1272 pre. We were
looking for contrast in Andrew’s guitars, new colors and effects from what we already had performed, as for example, the Ebow on “Te Amare”.
SDP: For the most part, I used a Line 6 Variax 500 modeling guitar. It allowed me to have 28 different guitar models, each with 5 different pickup sounds at my hands. It is a great tool for me as a producer because it enables me to have that great variety in almost no time at all. My signal path was a Neve 1081 Mic pre through a Tube Tech CL-1B compressor to add some warmth. For processing, I used Native Instruments’ Guitar Rig 2, a Line 6 Pod XT and a variety of pedals.
For recording acoustic guitars, I used a Taylor 414 as well as a 310. Well-known studio guitarist Leo Quintero (Jon Secada, Arturo Sandoval) played a Taylor 510 acoustic and a 4 Venezolano (four-string acoustic guitar from Venezuela). I particularly liked how the AKG 414 sounded on these guitars and it was also used through a Neve 1081 in both cases.
What about the synthesizers?
SDP: The album in general is pretty full of synths used in different ways such as hard leads or textures as well as arpeggiators and pads. I also used the synths as effects that come in and out in a song at different moments. Their purpose is to keep the listener attentive. I’d have to say that virtual synths play a very big role for me when it comes to writing and arranging. Sometimes a specific synth sound or texture creates a certain mood from which a whole song can evolve. It is a great alternative way of writing as opposed to doing it on the guitar or piano. Also, the beauty of having a bunch of synths “in the box” instead of having to have a ton of hardware is great. I personally like to use the wide variety of virtual synths offered by Native Instruments and Spectrasonics, which allow you to manipulate sounds in many different ways.
JG: On the songs I played keys, I always went for a vintage sound: B3, mellotron, analog synths, mono pads, arpeggiators, loops and effects. I certainly used Midnight Blue’s Yamaha C5 grand piano, which is great and in mint condition. The virtual instruments like old keyboards emulations are today way closer to their original versions than before. The B4 can sound really incredible. You just have to imagine yourself in front of the real thing and play accordingly, that is 50 per cent of the sound of the B3, the other 50 comes from the software design.
What about the vocals?
SDP: Chayanne’s vocals were all recorded at Midnight Blue Studios in Miami. I decided to use a Neumann M149 through a Neve 1081 pre. I felt that this mic added a great deal of clarity and captured all of the nuances in his vocal. I did not compress the vocal to tape that much as I wanted to be able to pick and choose later on during the mixing process from the great selection of compressors we had at the studio. Among them were the Tube Tech CL-1B mentioned before, Distressors, 1176’s and Summit Audio. I must say, the Distressors were a great tool in helping Chayanne’s vocal sit well in the mix.
Are the strings real?
SDP: Yes, two songs have strings, “Tengo Miedo” and “Indispensable,” the arrangements were written by Jose. In “Tengo Miedo” my idea was to add a string part from the bridge to the ending of the song to emphasize the desperation expressed in the lyrics and harmony. The strings help create a stronger impact on the song when it comes to a climax during the bridge.
JG: Exactly, at the bridge, about half way into the song, the strings walk on a rhythmic marcato releasing tension before the last chorus. Then, I worked on one memorable melody, moving the voices on each bar, re-harmonizing it to create a dramatic climax towards the end. On “Indispensable”, I allowed my more Beatlesque side to arise. I also imagined an atmosphere similar to Beck’s “Sea Change”, dark, using pads, effects and melodic lines in counterpoint to Chayanne’s vocals. The strings on this song complete the sound idea that started with the snare drum, piano, mellotron, glockenspiel and guitars; they all are part of a specific concept behind the production.
Where were the strings recorded and what microphone techniques were used?
SDP: The strings were recorded at Futura Productions in Boston, which has one of the best sounding rooms for string recording in the country. It is run by the talented John Weston who served as Pro Tools engineer in our session. The actual live room used to be a Masonic Temple many years back and it is now an impressive and spacious recording facility with the most recent technology. We also had the pleasure of having Rob Jaczko, who is the Dean of the Music Production and Engineering department at Berklee College of Music. He engineered the strings session. He was our professor while Jose and I studied there and we were aware of his experience with large scale recordings so it was only fitting to invite him. Rob wanted to take advantage of the great sounding room and for this, he utilized three Schoeps mics to create a Decca Tree behind the conductor. At the same time he also used one spot mic for every pair of musicians in case we needed reinforcement for a specific section during the mixing process. Having mixed the album already, I can say that we relied mostly on the decca tree mics for the string sound.
What creative contribution was made during the mixing process?
JG: We both mixed at four hands all the songs but “Tengo Miedo” that was mixed by Sebastian alone. Since we worked together in almost all the material, we were clear about how it should sound during the mix-down; although, if a song was produced by Sebastian my creative contribution was a valuable factor in the mix and vice versa. I like to think about the mixer as another musician, who contributes to the music with a fairly good dose of creativity and not just with a mere level balancing job. I enjoy messing up with an instrument sound, giving it character, and even placing the parts in unexpected level balances to surprise the listener or to create a particular effect.
I believe we gave the songs life and identity from the mix; we worked really well as a team. We had done it before and we enjoyed doing it once again.
What console and what outboard gear (if any) did you use during the mixing process?
SDP: The mix of the album was great because we had a great sounding 80 channel SSL 9000J. We used a lot of outboard gear as well as plug-ins. Regarding the drums sounds, an important piece of gear was the SPL Transient Designer. We also used various compressors like the ones mentioned previously but we took advantage of the ones on the board. As for effects, we used a Lexicon 960 L, an Eventide Ultra-Harmonizer, and a wide array of plug-ins like the Waves C4, which is great for vocals, the Super Tap Delay, Cosmonaut Voice, and the Line 6 Echo Farm which is a definite “must have” for me.
How do you define your sound as a creative team?
JG: We have very different and distinctive sounds, but we also have a lot of music in common, which facilitate our communication. It seems evident that we have a lot of Rock in our veins; however, we listen to everything that is out there. The common denominator in both of us brings up a new creative entity and a new sound that will keep morphing by the influence of our individual experiences which will evolve in our next joint productions.
How do you view “Mi Tiempo” in relation to Chayanne’s previous albums and how do you think his fans are going to react to it?
SDP: I think “Mi Tiempo” is a step ahead in Chayanne’s career, who keeps evolving and has the ability to reinvent himself without alienating his core fan base. At the same time, I believe he will capture a new audience that will appreciate his new sound, style and his undeniable charisma. It is also important to point out that, in this album, he has approached some new lyrical content previously unheard in his other albums, which I think fans will also definitely appreciate. He is one of the few artists in the Latin industry that has kept himself relevant to the times by working hard and constantly challenging himself.
JG: Chayanne is always looking for giving his best to his fans; with “Cautivo”, he successfully accomplished a change of sound; now with “Mi Tiempo” Chayanne shows a new perspective of the same man, the same tireless artist probably in his very moment of maturity as a performer. In this context, we came to offer our humble creative ideas, trying to give birth to a new classic for Latin-Pop music, an album with songs we could listen today as well as 20 years from now.
Lean more about the production work done by Jose and Sebastian and their websites http://www.josegentile.com and http://www.sebastiandepeyrecave.com . You can also learn more about Chayanne at his Spanish-language official site, http://www.chayanne.net.
↓ Quote | Posted 23. October 2007, 01:22ai,,,,,,,,,,,,,,,,,
chayanne………………….
te amo sa much!!!!!!!!!!!!!!
aq nyariin kmu g dpet2 di internet
‘n akir_a aq dpet jg
I LOVE YOU!!!!!!!!!!!!!!!!!!!!!!!!!!!!
TE AMO!!!!!!!!!!!!!!!!!!!!!!
MUACH…………………….MUACH………………..
↓ Quote | Posted 14. December 2007, 05:52[...] Si Nos Quedara Poco Tiempo [...]
↓ Quote | Posted 20. March 2010, 23:54