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In this paper I examine both the uses and effects of the digital images spread by the "sequence groups" in Cali (Colombia). It is a live music offer accompanied by electronic recordings (sequences) that replace other musicians. This is a sort of cyborg production, of heteronomous human-artificial sounds articulated to the logic of "copy" proper to the popular globalization. I contend that images and relevance of visuality enable the humanization of these sequences through the management of emotions sought after by the performance. Likewise, the sequence creators try to instill the sounds with warmth. In the online communication images, beyond being advertising, weave the solidarity between colleagues in an unstable trade. I based this work on ethnography where I acted both as a researcher and flute player. [ABSTRACT FROM AUTHOR]