Acoustic Levitation

I came across a YouTube video which shows a demonstration of various objects levitating by way of magnetic and sound frequencies generated from acoustic speakers. The video’s author, Dr. David Deak, gave the following information on the video and experiment:

This is an acoustic levitation chamber I designed and built in 1987 as a micro-gravity experiment for NASA related subject matter. The 12 inch cubed plexiglas Helmholtz Resonant Cavity has 3 speakers attached to the cube by aluminium acoustic waveguides. By applying a continuous resonant(600Hertz) sound wave, and by adjusting the amplitude and phase relationship amongst the 3 speakers; I was able to control levitation and movement in all 3 (x,y,z) axis of the ambient space. This research was used to show the effects of micro-gravity conditions that exist in the space shuttle environment in orbit, but done here on Earth in a lab. This is not “anti-gravity.” So don’t waste time arguing something pointless.

Acoustic Levitation Chamber…

How Acoustic Levitation Works…

Wilson, Tracy V.  ”How Acoustic Levitation Works.”  February 06, 2007.

Unless you travel into the vacuum of space, sound is all around you every day. But most of the time, you probably don’t think of it as a physical presence. You hear sounds; you don’t touch them. The only exceptions may be loud nightclubs, cars with window-rattling speakers and ultrasound machines that pulverize kidney stones. But even then, you most likely don’t think of what you feel as sound itself, but as the vibrations that sound creates in other objects.

The idea that something so intangible can lift objects can seem unbelievable, but it’s a real phenomenon. Acoustic levitation takes advantage of the properties of sound to cause solids, liquids and heavy gases to float. The process can take place in normal or reduced gravity. In other words, sound can levitate objects on Earth or in gas-filled enclosures in space.

Acoustic levitation allows small objects, like droplets of liquid, to float.

Photo courtesy Lloyd Smith Research Group
Acoustic levitation allows small objects,
like droplets of liquid, to float.

To understand how acoustic levitation works, you first need to know a little about gravityair and sound. First, gravity is a force that causes objects to attract one another. The simplest way to understand gravity is through Isaac Newton’s law of universal gravitation. This law states that every particle in the universe attracts every other particle. The more massive an object is, the more strongly it attracts other objects. The closer objects are, the more strongly they attract each other. An enormous object, like the Earth, easily attracts objects that are close to it, like apples hanging from trees. Scientists haven’t decided exactly what causes this attraction, but they believe it exists everywhere in the universe.

Second, air is a fluid that behaves essentially the same way liquids do. Like liquids, air is made of microscopic particles that move in relation to one another. Air also moves like water does — in fact, some aerodynamic tests take place underwater instead of in the air. The particles in gasses, like the ones that make up air, are simply farther apart and move faster than the particles in liquids.

Third, sound is a vibration that travels through a medium, like a gas, a liquid or a solid object. A sound’s source is an object that moves or changes shape very rapidly. For example, if you strike a bell, the bell vibrates in the air. As one side of the bell moves out, it pushes the air molecules next to it, increasing the pressure in that region of the air. This area of higher pressure is a compression. As the side of the bell moves back in, it pulls the molecules apart, creating a lower-pressure region called a rarefaction. The bell then repeats the process, creating a repeating series of compressions and rarefactions. Each repetition is one wavelength of the sound wave.

The sound wave travels as the moving molecules push and pull the molecules around them. Each molecule moves the one next to it in turn. Without this movement of molecules, the sound could not travel, which is why there is no sound in a vacuum. You can watch the following animation to learn more about the basics of sound.

Click the arrow to move on to the next slide.

Acoustic levitation uses sound traveling through a fluid — usually a gas — to balance the force of gravity. On Earth, this can cause objects and materials to hover unsupported in the air. In space, it can hold objects steady so they don’t move or drift.

The process relies on of the properties of sound waves, especially intense sound waves. We’ll look at how sound waves become capable of lifting objects in the next section.

The Physics of Sound Levitation

A basic acoustic levitator has two main parts — a transducer, which is a vibrating surface that makes sound, and a reflector. Often, the transducer and reflector have concave surfaces to help focus the sound. A sound wave travels away from the transducer and bounces off the reflector. Three basic properties of this traveling, reflecting wave help it to suspend objects in midair.

First, the wave, like all sound, is a longitudinal pressure wave. In a longitudinal wave, movement of the points in the wave is parallel to the direction the wave travels. It’s the kind of motion you’d see if you pushed and pulled one end of a stretched Slinky. Most illustrations, though, depict sound as atransverse wave, which is what you would see if you rapidly moved one end of the Slinky up and down. This is simply because transverse waves are easier to visualize than longitudinal waves.

Second, the wave can bounce off of surfaces. It follows the law of reflection, which states that the angle of incidence — the angle at which something strikes a surface — equals the angle of reflection — the angle at which it leaves the surface. In other words, a sound wave bounces off a surface at the same angle at which it hits the surface. A sound wave that hits a surface head-on at a 90 degree angle will reflect straight back off at the same angle. The easiest way to understand wave reflection is to imagine a Slinky that is attached to a surface at one end. If you picked up the free end of the Slinky and moved it rapidly up and then down, a wave would travel the length of the spring. Once it reached the fixed end of the spring, it would reflect off of the surface and travel back toward you. The same thing happens if you push and pull one end of the spring, creating a longitudinal wave.

Finally, when a sound wave reflects off of a surface, the interaction between its compressions and rarefactions causes interference. Compressions that meet other compressions amplify one another, and compressions that meet rarefactions balance one another out. Sometimes, the reflection and interference can combine to create a standing wave. Standing waves appear to shift back and forth or vibrate in segments rather than travel from place to place. This illusion of stillness is what gives standing waves their name.

Standing sound waves have defined nodes, or areas of minimum pressure, and antinodes, or areas of maximum pressure. A standing wave’s nodes are at the heart of acoustic levitation. Imagine a river with rocks and rapids. The water is calm in some parts of the river, and it is turbulent in others. Floating debris and foam collect in calm portions of the river. In order for a floating object to stay still in a fast-moving part of the river, it would need to be anchored or propelled against the flow of the water. This is essentially what an acoustic levitator does, using sound moving through a gas in place of water.

Acoustic levitation uses sound pressure to allow objects to float.

Acoustic levitation uses sound pressure to allow objects to float.

By placing a reflector the right distance away from a transducer, the acoustic levitator creates a standing wave. When the orientation of the wave is parallel to the pull of gravity, portions of the standing wave have a constant downward pressure and others have a constant upward pressure. The nodes have very little pressure.

In space, where there is little gravity, floating particles collect in the standing wave’s nodes, which are calm and still. On Earth, objects collect just below the nodes, where the acoustic radiation pressure, or the amount of pressure that a sound wave can exert on a surface, balances the pull of gravity.

Objects hover in a slightly different area within the sound field depending on the influence of gravity.

Objects hover in a slightly different area within the sound field,
depending on the influence of gravity.

It takes more than just ordinary sound waves to supply this amount of pressure. We’ll look at what’s special about the sound waves in an acoustic levitator in the next section.

Nonlinear Sound and Acoustic Levitation

Ordinary standing waves can be relatively powerful. For example, a standing wave in an air duct can cause dust to collect in a pattern corresponding to the wave’s nodes. A standing wave reverberating through a room can cause objects in its path to vibrate. Low-frequency standing waves can also cause people to feel nervous or disoriented — in some cases, researchers find them in buildings people report to be haunted.

But these feats are small potatoes compared to acoustic levitation. It takes far less effort to influence where dust settles or to shatter a glass than it takes to lift objects from the ground. Ordinary sound waves are limited by their linear nature. Increasing the amplitude of the wave causes the sound to be louder, but it doesn’t affect the shape of the wave form or cause it to be much more physically powerful.

However, extremely intense sounds — like sounds that are physically painful to human ears — are usually nonlinear. They can cause disproportionately large responses in the substances they travel through. Some nonlinear affects include:

  • Distorted wave forms
  • Shock waves, like sonic booms
  • Acoustic streaming, or the constant flow of the fluid the wave travels through
  • Acoustic saturation, or the point at which the matter can no longer absorb any more energy from the sound wave

Nonlinear acoustics is a complex field, and the physical phenomena that cause these effects can be difficult to understand. But in general, nonlinear affects can combine to make an intense sound far more powerful than a quieter one. It is because of these affects that a wave’s acoustic radiation pressure can become strong enough to balance the pull of gravity. Intense sound is central to acoustic levitation — the transducers in many levitators produce sounds in excess of 150 decibels (dB). Ordinary conversation is about 60 dB, and a loud nightclub is closer to 110 dB.

Other Uses for Nonlinear Sound

Several medical procedures rely on nonlinear acoustics. For example, ultrasound imaging uses nonlinear effects to allow doctors to examine babies in the womb or view internal organs. High-intensity ultrasound waves can also pulverize kidney stones, cauterize internal injuries and destroy tumors.

Levitating objects with sound isn’t quite as simple as aiming a high-powered transducer at a reflector. Scientists also must use sounds of the correct frequency to create the desired standing wave. Any frequency can produce nonlinear effects at the right volume, but most systems use ultrasonic waves, which are too high-pitched for people to hear. In addition to the frequency and volume of the wave, researchers also must pay attention to a number of other factors:

  • The distance between the transducer and the reflector must be a multiple of half of the wavelength of the sound the transducer produces. This produces a wave with stable nodes and antinodes. Some waves can produce several usable nodes, but the ones nearest the transducer and reflector usually not suitable for levitating objects. This is because the waves create a pressure zone close to the reflective surfaces.
  • In a microgravity environment, such as outer space, the stable areas within the nodes must be large enough to support the floating object. OnEarth, the high-pressure areas just below the node must be large enough as well. For this reason, the object being levitated should measure between one third and half of the wavelength of the sound. Objects larger than two thirds of the sound’s wavelength are too large to be levitated — the field isn’t big enough to support them. The higher the frequency of the sound, the smaller the diameter of the objects it’s possible to levitate.
  • Objects that are the right size to levitate must also be of the right mass. In other words, scientists must evaluate the density of the object and determine whether the sound wave can produce enough pressure to counteract the pull of gravity on it.
  • Drops of liquid being levitated must have a suitable Bond number, which is a ratio that describes the liquid’s surface tension, density and size in the context of gravity and the surrounding fluid. If the Bond number is too low, the drop will burst.
  • The intensity of the sound must not overwhelm the surface tension of liquid droplets being levitated. If the sound field is too intense, the drop will flatten into a donut and then burst.

This might sound like a lot of work required to suspend small objects a few centimeters off of a surface. Levitating small objects — or even small animals — a short distance might also sound like a relatively useless practice. However, acoustic levitation has several uses, both on the ground and in outer space. Here are a few:

  • Manufacturing very small electronic devices and microchips often involves robots or complex machinery. Acoustic levitators can perform the same task by manipulating sound. For example, levitated molten materials will gradually cool and harden, and in a properly tuned field of sound, the resulting solid object is a perfect sphere. Similarly, a correctly shaped field can force plastics to deposit and harden only on the correct areas of a microchip.
  • Some materials are corrosive or otherwise react with ordinary containers used during chemical analysis. Researchers can suspend these materials in an acoustic field to study them without the risk of contamination from or destruction of containers.
  • The study of foam physics has a big obstacle – gravity. Gravity pulls the liquid downward from foam, drying and destroying it. Researchers can contain foam with in acoustic fields to study it in space, without the interference of gravity. This can lead to a better understanding of how foam performs tasks like cleaning ocean water.

Researchers continue to develop new setups for levitation systems and new applications for acoustic levitation. To learn more about their research, sound and related topics, check out the links on the next page.

Other Levitator Setups

Although a levitator with one transducer and one reflector can suspend objects, some setups can increase stability or allow movement. For example, some levitators have three pairs of transducers and reflectors, which are positioned along the X, Y and Z axes. Others have one large transmitter and one small, movable reflector; the suspended object moves when the reflector moves.

Lots More Information

Related HowStuffWorks Articles

More Great Links


  • Alan B. Coppens, “Sound”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.637200, last modified: August 26, 2005.
  • Anilkumar, A.V. et al. “Stability of an Acoustically Levitated and Flattened Drop: An Experimental Study.” Center for Microgravity Research and Applications, Vanderbilt University. 7/16/1993.
  • Choi, Charles. “Scientists Levitate Small Animals.” LiveScience. 11/29/2006.

  • Choi, Charles. “Sound Waves Hold Heavy Metal Aloft.” Science Now. 8/2/2002.
  • Clery, Daniel. “Technology: Suspending Experiments in Thin Air.” New Scientist. 4/25/1992. suspending-experiments-in-thin-air-.html
  • Danley, et al. U.S. Patent 5,036,944. “Method and Apparatus for Acoustic Levitation.” 8/4/2001.
  • Daviss, Bennett. “Out of Thin Air.” New Scientist. New Scientist. 9/1/2001.

  • Eastern Illinois Department of Physics: Acoustic Levitation

  • Fletcher, et al. U.S. Patent 3,882,732. “Material Suspension in an Acoustically Excited Resonant Chamber.” 5/13/1975.
  • Guigne, et al. U.S. Patent 5,500,493. “Acoustic Beam Levitation.” 5/19/1996.
  • Henry E. Bass, J. Brian Fowlkes, Veerle M. Keppens, “Ultrasonics”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.719500, last modified: August 8, 2002.
  • Holt, Glynn and Greg McDaniel. “Using Acoustic Levitation to Float Foams in Space.” Acoustical Society of America 136th Meeting Lay Language Papers.

  • Kenneth S. Suslick, “Sonochemistry”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.637005, last modified: May 2, 2002.
  • Leo L. Beranek, “Wave motion”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.740500, last modified: August 16, 2002.
  • Lierke, E.G. “The Ultrasonic Levitator – Space Technology for Terrestrial Applications.” European Space Agency.

  • Mark F. Hamilton, “Nonlinear acoustics”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.455450, last modified: April 18, 2003.
  • Oran, et. al. U.S. Patent 4,218,921. “Method and Apparatus for Shaping and Enhancing Acoustical Levitation Forces.” 8/26/1980. USPTO.
  • Rey, Charles A. U.S. Patent 4,284,403. “Acoustic Levitation and Methods for Manipulating Levitated Objects.” 8/18/2001.
  • Robert E. Apfel, “Acoustic levitation”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.005800, last modified: July 16, 2001.
  • Robert E. Apfel, “Acoustic radiation pressure”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.006200, last modified: July 16, 2001.
  • Rudolf Tuckermann, Sigurd Bauerecker, “Ultrasonic trapping of gases”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.YB041145, last modified: March 4, 2004.
  • Santesson, Sabina and Staffan Nilsson. “Airborne Chemistry: Acoustic Levitation in Chemical Analysis.” Analytical and Bioanalytical Chemistry. 2004.
  • Schmidt-Jones, Catherine. “What is a Standing Wave?” Connexions.

  • Strauss, Stephen. “Look Ma, No Hands.” Technology Review. August/September 1988.
  • Tec5 AG. “Acoustic Levitator Manual.” 2004. Systems/Manual_Levitator.pdf
  • UGA Hyperphysics: Reflection of Sound

  • University of Idaho: Acoustic Levitation AcousticLevitation/levitated_water_droplets.htm
  • William M. Carey, “Sound pressure”, in AccessScience@McGraw-Hill,, DOI 10.1036/1097-8542.637500, last modified: July 30, 2002.
  • Xie, W.J. and B. Wei. “Parametric Study of Single-Axis Acoustic Levitation.” Applied Physics Letters. 8/6/2001.

I bought this record in December 1985 at an obscure, shoddy used books-and-records store in Toronto. All the used records were inside dusty banker-file boxes. All the genre-labels were written in magic-marker ink on torn pieces of cardboard which were taped onto the front sides of the boxes. Going through the “12 Inch Singles” boxes, I found this gem. Of course I had no idea on who the artist was, but judging from the record’s graphic design, typography and contextual print on the label, it was pretty obvious to me that I had an electro-beat rap record in my hand. At that time, rap records were RARE and EXTREMELY HARD to find in record stores anywhere in Canada. Being only 14 years-old in 1985, the only way for me to get them was by traveling (with my parents of course) to London or New York. So finding this record was really like a gift from God, since I had been eager to get my hands on any rap music, whether on cassette tape, vinyl LP or 12-inch single. Once I got home and played this track, I was very impressed with it. Good drum-machine programming, synth hooks and rolling bassline. Great delivery on the rap vocals. Breakloose leans more towards the lighter side of pop breakdance sound, shies away from getting all too serious, plays it safe within the production methods and keeps its groove tight.

And there’s something abstract and hidden about Breakloose ……. it has some kind of good-spirited ability to connect with on a deep, personal level, which is probably the why I still play this track today.

—– UPDATE – February 17, 2010 —–

I had just received a personal email from Chris Larock who is the writer and performer of Breakloose. It is also an honor to have him post a comment on this very blog/article (read below in the comments section):

Hay dude i am so touch by you for keeping my name alive. yes I am C- waLarock from the younger generation 1984 its been almost 30 something years breakloose was number two on billboard overseas, we didnt made a penny. group broke up and went our own ways. i am back now and ready check out my web site keep my name alive lov u man peace

Younger Generation – “Breakloose” (Breakdancin’ Mix)…

Artist: Younger Generation
Title: Breakloose (Breakdancin’ Mix)
Year: 1984
Label: Master Mix Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Younger Generation – “Breakloose” (Breakdancin’ Mix) (mp3)


Younger Generation – “Breakloose” (Dub)…

Artist: Younger Generation
Title: Breakloose (Dub)
Year: 1984
Label: Master Mix Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Younger Generation – “Breakloose” (Dub) (mp3)


Z3 - Tripple Threat 01

Z-3 MC’s – “Triple Threat”…

Artist: Z-3 MC’s
Title: Triple Threat
Year: 1985
Label: Beat Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

PZ-3 MC’s – “Triple Threat” (mp3)


More About Z-3 MC’s…

According to UnKut music blog:

Duke Bootee put in some amazing work following his contributions to both parts of “The Message”, most notably his production and powerful Linn drum programming for a number of Beauty & The Beat (his own label) and Profile singles. Records from the Point Blank MCs, MC Crash, K-Rob, Z-3 MC’s and the Duke himself all bore a common sound – loud drums, heavy scratching and a healthy dose of Shout Rap.

Z-3 MC’sTriple Threat” featured DJ Cheese’s recorded debut, as these youngsters from Baltimore went for theirs with a little help from a human beatbox and a cheesy “King Tut” keyboard riff (which would have been pretty awesome at the time, I guess). “King Kut” soon followed, as New Jersey’s Word of Mouth delivered a more polished though very similar song, replacing the Egyptian tune with an off-key “London Bridge Is Falling Down” melody and focusing more on praising the work of the mighty Cheese than shutting down toy MC’s. Both of these tracks still hit hard, but I’d have to say that I prefer the lesser-known “Triple Threat” if I had to choose between the two.

Music Video: Word Of Mouth f. DJ Cheese – “King Kut”…

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Grandmaster Melle Mel -King Of The Streets 01

I am so glad that I got this 12-inch record back in 1985, because it is a rare and (perhaps) a solo single release of Melle Mel. I have speculated all these years that King Of The Street is the sequel to Beat Street Breakdown track (watch music videos below) by Grandmaster Flash, Melle Mel & The Furious Five.

Grandmaster Melle Mel – “King Of The Streets”…

Artist: Grandmaster Melle Mel
Title: King Of The Streets
Year: 1985
Label: Sugar Hill Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Grandmaster Melle Mel – “King Of The Streets” (mp3)


“Beat Street Breakdown” - Grandmaster Flash, Melle Mel & The Furious Five…

“Beat Street Breakdown” (live performance) – Grandmaster Flash, Melle Mel & The Furious Five…

The Latin Rascals - Beyond The Future

The Latin Rascals…

Artist: The Latin Rascals
Title: Beyond The Future
Year: 1986
Label: Sutra Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

The Latin Rascals – “Beyond The Future” (mp3)


More About The Latin Rascals…

I find The Lastin Rascals to be class-act with stellar production and rich sound, standing on their own plateau. Just take a listen to their remix production on the following blogs which I’ve posted here previously:

According to Music Guide and The Latin RascalsMySpace page:

Producers/DJs Albert Cabrera and Tony Moran — collectively known as the Latin Rascals — got their start as movers and shakers on the budding early-’80s New York City club scene, hosting an influential continuous-mix show on local dance radio. The duo went on to mastermind a number of Latin freestyle dance tracks, including work for TKA and The Cover Girls, among others. In 1999, the collection Mixmasters Vol. 1 was released, featuring reworkings of various Latin Rascals mixes by an array of DJs.

According to about Albert Cabrera:

Better known as one half of The Latin Rascals, Albert Cabrera, along with partner Tony Moran, helped create the mid-’80s, edit heavy genre of dance music known as freestyle. Working as DJs in the early ’80s, the duo realized that after the disco backlash dance music wasn’t the most popular of genres. Still, they were working in the U.S. capital of club culture, New York, and after much hustling they were able to score a high profile gig as mix masters on WKTU’s popular “lunch time mix” program. It was there that they unleashed their bedroom edits, songs by acts like Bruce Springsteen and the Rolling Stones that had been re-mixed and lengthened. Cabrera and Moran were then tapped by Fever records to produce The Cover Girls and the resulting single, “Show Me,” became a club hit. For the next few years the duo had a good little run, releasing their own dance singles, as well as re-mixing many a popular rap, rock, and R&B act. Their success was based largely on re-tooling other artists’ hits, though, and eventually the public’s interest in this format diminished and the duo parted ways.

The following FAQ about The Latin Rascals is cited from the Freestyle Dance Party site:

How did they meet?

Albert Cabrera was selling tapes of music he liked for $10, and walked into Dowtown Records, where Tony Moran just so happened to be working. Cabrera played some of his mastermixes for Moran, and on one occasion, Carlos deJesus was there.

Who was Carlos deJesus?

Carlos deJesus was a radio personality on WKTU. He overheard one of Cabrera’s mixes and asked him for a copy. The problem was, all of Cabrera’s mixes were on cassette, while the station needed them on reel to reel.

Well, guess who had a reel to reel?  Who?

Tony Moran, of course, and he let Albert Cabrera borrow his, for which he gave him due credit.

How did they get their start?

They shook up the New York club scene in the early 1980s by hosting an influential continuous-mix show on a local dance radio station, WKTU. They would take other artists’ already popular songs and splice them together. They later moved to Kiss-FM.

Then what happened?

Arthur Baker contacted them.

Where have I heard his name before?

Well, he was the producer of “Planet Rock” and “I.O.U.” amongst many other hits. Arthur Baker gave the Latin Rascals their first editing job on the song “Breaker’s Revenge.” Soon, Aldo Marin from Cutting Records hired the duo to edit “B-Boy’s Break Dance” for which they were paid, to the surprise of the duo, who only wanted the experience and opportunity.

Then what happened?

Arthur Baker was so pleased with the results that he sent more remixing and editing work their way, including work on recordings by Hall and Oates, Diana Ross, and Brenda K. Starr.

Soon the Latin Rascals were a big hit on the dance floor. The Latin Rascals are often credited with making hits out of early freestyle artists TKA, Safire and the Cover Girls. Riding on the crest of their success as producers, Cabrera and Moran released their own material as the Latin Rascals.

But did they still produce for others?

Oh yes. In fact, Show Me was Tony Moran’s first top 40 gold record and really started the Freestyle movement in music. Many of that genre’s biggest stars, from TKA, Safire, and Lisette Melendez, all benefited from the talented duo.

What music did they make for themselves?

They made two instrumental albums, Macho Mozart and Bach To The Future, making classical music rather dance-able. Even “Arabian Knights” was originally an instrumental, but it did so well that the Latin Rascals decided to improve upon it by laying down a vocal track headed by Tony.

What was the effect of that?

Well, fans ate it up. That record put the duo in demand for shows nationwide, where the crowds would sing along to the words.

Wasn’t one of them married to someone else in freestyle?

That’s right! Albert Cabrera married Safire, who was greatly successful with “Boy I’ve Been Told.” Unfortunately, their synchronized success was also the undoing of the marriage, due to conflicting schedules and outside influences.

Well, I guess Albert still had Tony.

Yeah, but that professional pairing ended by growing apart. Tony was more into singing while Albert was into freestyle. Still, the breakup of Latin Rascals was amicable and each partner remains grateful to the other.

Then what happened?

Albert Cabrera wanted to keep making freestyle music but, by this time, its popularity had fallen just as disco had years before. He tried to update freestyle by blending it with the trendy trip-hop genre in his album Trip Hop Dance 2000. It featured the voices of Judy Torres, Corina, Lil’ Suzy, Joey Kidd, Sam Savon and Brenda K. Starr, while Tony Moran came back in to re-record an updated version of “Arabian Knights.”

Since then, what has Cabrera been doing?

He went to school for 5 years and began producing bass music, as he saw it as the closest to freestyle. He re-teamed with freestyle legend “Little” Louie Vega, creating “Rascal Dubs” in house music. He’s also been working with artists as musically diverse as KC and the Sunshine Band, David Morales, Mariah Carey, and Tori Amos.

CyberPeople 02

I want to thank and give credit to Beat Electric blog from which I’ve borrowed/cited the following information (as well as for the provision of the track):

Driving drums with a lot of reverb, check; electronic toms, check; simple well executed melody, check; incredible vocoded vocals, check. This is an italo electro track that does everything that Chris Menace and Fred Falke want to do, but did it in 1985. Produced by Italian dudes A. Zanni (who was also in Faxe) and S. Cundari (who produced Hipnosis, Koto, and a Ken Laszlo track which was previously posted here). This must have blown people’s minds when it came out. …

…Get a sped up version at The Red Room here.

Cyber People – “Void Vision” (Slow Version)…

Artist: Cyber People
Title: Void Vision (Slow Version)
Year: 1985
Label: Blanco Y Negro
Media Source: Recorded straight from 12-inch record to enhanced digital.

Cyber People – “Void Vision” (Slow Version) (mp3)


Tommy Musto - CT Satin - Friend

Tommy Musto :: C. T. Satin – “I Found A Friend”…

Artist: C. T. Satin [Tommy Musto]
Title: I Found A Friend
Year: 1987
Label: Underworld
Media Source: Recorded straight from 12-inch record to enhanced digital.

C. T. Satin [Tommy Musto] – “I Found A Friend” (mp3)


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