Composer - somewhat

Author's work

Since I started playing guitar, the creation of copyrighted tracks has been present in my work. Since it is a natural urge, so it is today .... of course, in parallel with refinement. I have to admit, that despite my personal perception that I have the most capacity to produce authentic material of all musical abilities, the set of life circumstances gave me neither the time nor the business arrangements to demonstrate it sufficiently.

Miro Di Ghaesa ,guitar player of band TAKO - Merging of Sunlight into the memory of sand (remix 2019)pic.twitter.com/4yV0B9jJo3

About a week ago from Miro Di Ghaesa's Twitter via Twitter for iPhone

Miro Di Ghaesa’s handmade guitars

Miro Di Ghaesa uses gear from the following companies:

Be that as it may, here's something about it. Almost none of what I composed before I started playing with the band BUT it did not remain recorded as an audio record ..... the main reason is that I will only make real music in the years ahead so I did not take care about tape recorders ... at that time the only sound carriers next to the turntables. With the KOREN band I recorded a TEMA N 13 track that was printed on an LP which was a compilation of about ten rock bands .... Over time, as I relate my life circumstances to my own decisions, I realize that nothing happens by accident. Since I decided to learn to play the piano at the end of 1985 and bought an Fender Rhodes 73 electric piano and in the spring of 1986 a synthesizer, at that time of the new FM generation, the legendary Yamaha DX7, I spent the next three years mostly playing in hotels on the Montenegrin coast, but and in Zlatibor, Kopaonik and other cities around Serbia. Through jazz standards and well-known compositions by Steve Wonder, Sting, the TOTO group and others, I became better acquainted with harmonic progression and the harmony-to-tonality ratio, which, with knowledge of synthesizer programming, rhythm machines and sequencing, was like a planned studio study. In the spring of 1988, I had a borrowed eight-channel TASCAM tape recorder and some of my equipment, and I learned the basics of studio work and at that time the very important SMPT synchronization of tape recorders and rhythm of machines and computers. Then I met the people from the ACADEMY studios and made an agreement with them. Of course, from the beginning of my time with the piano, I worked out some of the topics that I had been working on while working with the THEN (1976-1981) group that had not been realized. First cooperation. In 1988 I started working with Goran Milosevic, singer of Generation 5. We did demos and occasionally performed as a group. Then he sang two of my compositions ..... America and Be Good, which we recorded in 1995 for his CD "Do you still think about me?" Singer Zorana Pavic recorded and recorded the same composition a few years later. In addition to composing for various, mostly lesser-known and unknown singers, I also worked on instrumental compositions that, both in form and content, were in the wake of what I was doing during the band THEN .... will continue ..... 

will continue .....