Musique latine IA — salsa, bossa, cumbia, flamenco. La clave au centre.
tempo moyen 99 BPM (de 58 à 150) · 31 titres · 1 instrumentaux · énergie moyenne 62 %
Les consignes réellement utilisées pour produire les 31 titres Latin du catalogue, relevées sur les morceaux eux-mêmes.
latin music, nylon-string Spanish guitar playing montuno and rasgueado patterns, tres cubano countermelodies, congas bongos and timbales laying a clave-based groove with cowbell, electric bass playing a tumbao locked to the clave, bright horn section of trumpets and trombone with tight stabs, piano montuno in the upper register, guiro and maracas throughout, warm expressive male lead vocal in Spanish with open chest tone, coro answering the lead in call-and-response, live band recorded in one room with natural warmth, danceable tempos, no synths, no programmed drums, slow bolero feel, nylon guitar and voice foregrounded, subtle percussion — 9 titres, dont « El Ultimo Tren »cumbia y bolero, acordeon vallenato al frente, guacharaca y guiro marcando el raspado, caja vallenata, bajo electrico redondo, guitarra criolla, voz masculina calida en espanol, grabacion analoga, Cumbia rapida a 112 BPM en sol mayor. Todo el conjunto desde el primer compas, sin introduccion. Guacharaca constante y muy presente, caja que empuja. Acordeon en riffs cortos entre frases. Coro cantado por muchas voces. Ruptura instrumental de veinte segundos donde solo queda la percusion. — 9 titres, dont « Sal Y Ceniza »Brazilian MPB and samba, nylon-string violao playing syncopated bossa and samba patterns, cavaquinho chording on the offbeats, pandeiro and surdo laying a warm samba pulse, agogo bells and shaker, soft upright bass, gentle flute or clarinet countermelody, warm expressive male voice singing in Brazilian Portuguese with relaxed phrasing, subtle backing vocals in thirds, sunlit acoustic production recorded in a warm room, unhurried danceable tempos, no synths, no programmed drums, no distortion, loping rhythm, storytelling pace, clarinet answering the vocal — 2 titres, dont « O Homem Do Barco »A Latin trap and reggaeton hybrid driven by laid-back dembow rhythms, smooth 808s, and crisp hi-hats. Atmospheric synths blend with relaxed guitar licks, supporting a mellow melodic flow. Subtle percussions and spacious reverb create a chill urbano-latino vibe throughout. — 2 titres, dont « Tithon »Vocals from the very first word, no instrumental intro, just voice and round fretless electric bass gliding between notes, distant carnival whistles far behind. Mid-tempo minor-key Antillean zouk-love groove, 114 BPM, fretless bass is the lead instrument, dry close-mic vocal in a small warm room against wide night ambience; verse first, chorus at 0:38, spoken teasing bridge with the kit dropped out, last chorus finally adds the drum. Chekere shaker only from the second verse, tambour ka held back until the final chorus. Female lead, late twenties, honeyed mid-range with bright nasal top, Martinican Creole lilt, sung lines sliding into spoken asides and a breathy laugh, small crowd chorus replying. Warm analog saturation, plate reverb, short slapback, bass-forward. No trap hi-hats, no rap verses, no ka intro, no English lyrics. — 1 titre, dont « Dé Pa Twô Pré »Water lapping against a wooden dock with a far-off sound system fading out, then a clean chorused electric guitar picking upstroke arpeggios. Slow modal Antillean ballad-groove, 88 BPM, chorused guitar leads throughout, tape-warped hissy texture with open reverb as if the sound carries over water; slow build, drums enter late around 1:05, half-time bridge, ends on voice and guitar alone with the water returning. Ti-bwa sticks enter alone in the bridge, no tambour ka anywhere. Female lead, late twenties, warm honeyed mid-range with a bright nasal edge, Martinican Creole accent, tender teasing delivery with spoken asides, small mixed chorus answering softly. Humid open-air night mix, whistles low under everything, plate reverb with short slapback, bass-forward. No trap hi-hats, no rap verses, no distortion, no English lyrics. — 1 titre, dont « Ponton Bay Zilé »Whole band on beat one, no build-up: trumpet and trombone stabs in tight unison with full kit and bass together, crowd whistle cutting through the PA. Festive Antillean zouk-carnival brass workout, 126 BPM, brass section leads, live open-air sound with brass slightly clipping and crowd bleed between mics; starts on the chorus, then verse, shouted call-and-response breakdown with brass alone, final chorus doubled by the crowd. Tambour ka and ti-bwa enter together at the first chorus and drive every chorus after. Female lead, late twenties, warm honeyed mid-range with bright nasal edge, Martinican Creole, playful teasing delivery, mixed crowd chorus answering her. Humid night mix, warm analog saturation, plate reverb plus short slapback, bass-forward. No trap hi-hats, no rap verses, no distortion, no English lyrics. — 1 titre, dont « Lè Cuivres Chofé »A vibrant fusion: sabar rhythms drive the mbalax groove, layered with acoustic Senegalese guitar, expressive harmonica, and subtle AfroPop keys, Interwoven kora phrases bring AfroFolk depth, while call-and-response vocals nod to Griot traditions, Modern percussion and a grooving bass merge world, contemporary, and traditional West African influences, Accordion textures evoke chanson, and dynamic shifts highlight the blues-tinged, socially conscious intent — 1 titre, dont « La Bolita »