Очень хороший музыкант Evlee из Китая. Отлично играет на музыкальных инструментах.

Вдруг кому интересно, есть описание инструментов, которые были использованы. Я приведу его в оригинале, который она мне дала, потому что я не музыкант и фиг знает, как это перевести на русский язык, не моя тема.

使用设备：

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2. NUX C-5RC无线 使用距离：30米内 产品特点：即插即用,无需配对

Если понравится, с ее разрешения я могу загрузить еще видео, в том числе с описанием инструментов, которые она использует.

The Abysswalker (Новый сингл 2026 года)

He showed me a thick notebook, blue cover, worn at the edges. “This is about us,” he said. “Or really about what was between us: the silence, the wind, the waiting.” He never played it for me. And I left. Got a position at the Boston library. A year later I heard that… other piece on the radio. My hands went cold. Not because the melody was stolen. Because the silence was. He was selling his soul to sound, and they stole the very silence he came from. That’s a deeper kind of robbery.

III. Article in the Portland Press Herald, February 21, 1962 (excerpt). “COURT DISMISSES SUIT BY SELF-TAUGHT FISHERMAN AGAINST CONSERVATORY GRADUATE”

Yesterday the Cumberland County court issued its ruling in a case that stirred considerable talk in New England’s musical circles. Edward Garnue, 27, a Rockland shipyard worker, accused composer Michael Bradley of appropriating his symphonic poem. After examining the dated drafts submitted by Garnue and hearing witnesses, the judge acknowledged a striking stylistic resemblance between the works. Nevertheless, the verdict stated: “However remarkable the similarity may appear, resemblance alone does not constitute proof of access.” Since the plaintiff could produce no conclusive evidence that his manuscript had ever reached the defendant’s hands, the suit was dismissed. Mr. Bradley, present in court, reiterated that he had never seen any of Mr. Garnue’s work. Court costs were assessed against the plaintiff.

IV. Personal note. Found interleaved in a score of Debussy, Rockland Public Library collection. March 3, 1962 To the library—for safekeeping.

I’m going out to sea. Not to fish. To listen. The sea knows the truth. Always has. Out there—no newspapers, no courtrooms, no diplomas—you can finally hear the clean note. The real one. If I don’t come back, let this notebook stay here. It began here, among your shelves. Let it end here too.

E.G.

V. United States Coast Guard report. From the operations log, March 11, 1962. At 1430 hours, wreckage of a wooden dory-type vessel located off the eastern shore of Mount Desert Island. Hull number obliterated; identification impossible. Among the debris: a waterlogged box of papers, personal effects. No signs of human remains. Weather in the area from March 5 through 9 was extreme (storm “Ash Wednesday”). Search operations in the sector terminated March 15.

VI. Letter from Jonathan Gray, reporter. Never mailed. (From private archive). Dear Edward,

I’m writing this letter you will probably never read. I’m ashamed. I took up your story thinking I saw more than a scandal—I saw a sentence passed on an entire system. I wrote the piece. It’s still in my desk drawer. My editor—a decent man in most ways—called me in and said, “John, are you ready to bury your career for a ghost? We have no hard proof, only hunches and a fisherman’s sketches. They have lawyers, contracts, futures.” He didn’t order me. He advised. It was the politest, deadliest order I ever received.

I watched them press on you. I should have been the voice that shouted in your defense. Instead I stayed quiet. We all stay quiet, Edward. The system is built so truth drowns not in noise, but in our collective, suffocating silence. Forgive me. I turned out not to be a journalist, but a conformist.

I’ll keep your papers. Maybe someday…

Yours, Jonathan Gray

VII. Afterword. From the catalogue-study “Forgotten Voices of the Atlantic” (1998). Michael Bradley’s symphonic poem Echoes of Forgotten Rain (1961) remains in the annals of New England music as an odd, uncharacteristic interlude in the composer’s output. Musicologists remark on its “excessive, almost obsessive aquamarine imagery”—so foreign to Bradley’s usual dry, academic manner. The sole recording, on the small “Acadian Echoes” label, has become a collector’s quarry.

Edward Garnue’s drafts lie in an uncatalogued cardboard box in our archive. The paper has yellowed; the ink has faded. Sometimes, in a quiet hour, an old man down at the wharf, staring at the bay, will say, “Remember that fellow Ed? The one whose music sounded like surf?” And another will nod. “Yeah. Boat never came back.” That’s where the story ends. Or maybe where it begins.

That’s all there is. No moral, no retribution, no monument. Only the sea, still breathing, and an old notebook in which someone once tried to notate its endless, indifferent, eternal respiration.

У меня музыкального образования как у Варга чувства раскаяния - чуть меньше чем ни***чего.

Но зато по любому есть заинтересованные товарищи на просторах русского интернета. Поэтому я собсна сюда и пришел.

На сайтах с поиском музыкантов безрезультативно, ну и задачи были несколько другие.

Есть ли здесь люди, которые так же горят совместной работой?

Не нужны гитаристы, у нас заводы стоят, на бас свою сестру возьму, ей как раз скоро 11 (очередная несмешная шутка про басистов).

А вот клавишники с пониманием как должен звучать оркестр - само то!

Я понимаю, что «никто не любит пианистов», но…обстоятельства твердят искать именно таких чуваков. Сделаем красиво!!!)

Хотите смейтесь, хотите нет - мое рабочее место FL Studio. Есть пара гитар, звуковуха и всякие плюшки типа ударных, басовых VST. Есть из чего выбрать. Думаю, для начала и такого наборчика хватит.

P.S. Надеюсь тема не отвалится и я буду иногда залетать сюда и сопровождать болталки треками из «портфолио».