facebook.com/FollowDJHart
http://www.mixcloud.com/hartbeats



http://soundcloud.com/somnoroase-pasarele

Remote recording

Remote recording, also known as location recording, is the act of making a high-quality complex audio recording of a live concert performance, or any other location recording that uses multitrack recording techniques outside of a recording studio.[1] The multitrack recording is then carefully mixed, and the finished result is called a remote recording or a live album. This is in contrast to a field recording which uses few microphones, recorded onto the same number of channels as the intended product. Remote recording is not the same as remote broadcast for which multiple microphones are mixed live and broadcast during the performance, typically to stereo. Remote recording and remote broadcast may be carried out simultaneously by the same crew using the same microphones.

One important benefit of a remote recording is that the performers will respond to the audience; they will not be as distracted by the recording process.[2] Another reason for a remote recording is to capture an artist in a different acoustic space such as a church, ballroom or meeting hall.[3]

To make a remote recording, studio-quality recording equipment is trucked to the concert venue and connected to the concert microphones with a bank of microphone splitters. Other microphones may be added. The individual microphone signals are routed to separate tracks.[4]

A remote recording is often made using a specially built remote truck: a rolling recording studio carrying a mixing console, studio monitors and multitrack recorders. Beginning modestly in 1958, recording engineer Wally Heider developed and popularized the use of a remote truck in California in the mid-1960s and throughout the 1970s.[5]

[edit]History

Remote recording developed out of the practice of making field recordings with high-quality equipment. The earliest such recordings were crude, undertaken in the 1920s and 1930s, beginning with Ralph Peer in 1923. Peer carried a disc-cutting machine and recorded musicians directly to disc. From 1941 Alan Lomax became known for the field recordings he made of the various musical traditions carried to or created in the United States. In the 1950s, advances in microphones, mixers and tape recorders allowed more sophisticated equipment to be carried to a concert location, including more microphones, tape recorders with more tracks, and possibly a mixing console to mix multiple microphones down to fewer recorded tracks.

Not all remote recordings were well received by the public. For instance, in 1963 Chess Records hauled their monaural tape recorder to Myrtle Beach, South Carolina, to capture the Fourth of July weekend concerts including Bo Diddley's electrifying performance in front of 2,000 excited fans. The resulting album, Bo Diddley's Beach Party, did not sell well in the U.S.[6]

In 1958, American recording engineer Wally Heider mounted recording equipment in a truck, reportedly the first to do so. The next year, engineer Reice Hamel did the same. Both men used new techniques, bringing many microphones to a concert and mixing the performance as it happened—in the manner of a remote broadcast—recording onto stereo tape recorders for release as stereo and mono records. Hamel's first truck grew from simple to more complex in the first seven years. He started with stereo, obtained a three-track machine on which he taped a Barbra Streisand concert, then in 1965 he configured the truck as a complete recording studio. In 1966 he installed a four-track machine, then moved to eight-track, and by 1971 was recording on sixteen tracks.[7]

Many of Heider's recordings became hits or critical successes. One of them is the classic album Live in Concert by Ray Charles, captured in 1964 at the Shrine Auditorium in Los Angeles.[8] Heider recorded the Monterey Pop Festival in 1967;[9][10][11] its many musical acts and the increasing importance of high quality sound for a concert film signaled a major shift in scale and importance for the remote truck operator. After that, other recording studios assembled their own remote recording trucks and more concerts were saved on multitrack tapes. The Woodstock Festival was recorded on 12-track by a remote truck and then mixed at the Record Plant studio in New York.[12] In August 1971, the Record Plant used its first remote truck to make its first remote recording, The Concert for Bangladesh held at Madison Square Garden.[13] In preparation for the concert, Record Plant co-founder Chris Stone said that remote recording had several key advantages to studio recording: "It is really not as expensive as studio time when one considers that the concert is two hours long, perhaps twice a night for two days. It is a spontaneous music that is recorded live. This makes it more flavorable [sic]. And it is usually easier on the musician, who gets paid for the concert and gets the recording done for his next LP at the same time. Everyone wins."[7]

[edit]References

^ White, Glenn D.; Louie, Gary J. (2005). The Audio Dictionary (3 ed.). University of Washington Press. p. 328. ISBN 0295984988.
^ Bartlett, Bruce; Bartlett, Jenny (2006). Recording music on location: capturing the live performance (2 ed.). Focal Press. p. 17. ISBN 0240808916.
^ Eargle, John (2005). Handbook of Recording Engineering (4 ed.). Birkhäuser. p. 292. ISBN 0387284702.
^ Van Horn, Rick (1997). The Working Drummer. Hal Leonard Corporation. p. 26. ISBN 0793573580.
^ McCullaugh, Jim (November 15, 1980). "High Tech Times In The World's Recording Mecca". Billboard. p. 90. ISSN 0006-2510.
^ Bonomo, Joe (2009). Jerry Lee Lewis: Lost and Found. Continuum International Publishing Group. p. 77. ISBN 0826429661.
^ a b Glassenberg, Bob (July 31, 1971). "Studio Track". Billboard (Nielsen Business Media) 83 (31): 4. ISSN 0006-2510.
^ Erlewine, Stephen Thomas (2003). All music guide to soul: the definitive guide to R&B and soul. Hal Leonard Corporation. p. 132. ISBN 0879307447.
^ Brant, Marty (2008). Join together: forty years of the rock music festival. Hal Leonard Corporation. p. 28. ISBN 0879309261.
^ "Live At Monterey". AlbumLinerNotes.com. Retrieved July 17, 2011. "Recorded on Wally Heider's 8-Track Remote using 3M analog tape. Engineers: Wally Heider and Bones Howe."
^ "At Monterey Pop". AlbumLinerNotes.com. Retrieved July 17, 2011. "Remote recording by Wally Heider."
^ Waddell, Ray (August 8, 2009). "Peace and Prosperity: How A Three-Day Festival Became A Four-Decade Business". Billboard (Nielsen Business Media) 121 (31): 22. ISSN 0006-2510.
^ Goggin, David (1988). "The Record Plant at 20". Mix.
View page ratings
Rate this page
What's this?
Trustworthy
Objective
Complete
Well-written
I am highly knowledgeable about this topic (optional)

Submit ratings
Categories: Audio engineeringSound production technology
Log in / create accountArticleDiscussionReadEditView history

Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Toolbox
Print/export
This page was last modified on 26 December 2011 at 19:08.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Contact us
Privacy policyAbout WikipediaDisclaimersMobile view 

Tricoma Sound System la formaron en 2008 los vocalistas Zampaxeves (ex miembro de Prisión Mental) y Ojitos Rojos (reconocido selektah de reggae/dancehall en Huelva), a los que más tarde se uniría Sergio Valiente aportando el reggae-roots con un toque aflamencado, ofreciendo sus primeros conciertos en la sala Bemba de Huelva y en Microlibre de Sevilla junto con artistas de primer orden nacional del reggae como KikiSound (kamikaze) y SwanBwoy. 
Tras varias colaboraciones se uniría al grupo Profeta Garrido (Beat Maker-MC) con el que introducen el Rap al peculiar estilo de la banda. Actualmente Ojitos Rojos abandona el grupo y se une como DJ.-Producer Master Mame conocido por su programa en Uniradio: Rapsolo además del selekta y speaker Don Dadda de la conocida sound system alemana G-Force Sound (http://g4sound.com/), convirtiéndose  en una auténtica familia que también produce y acoge a otros artistas locales.

Con temas propios, elaborados con letras incisivas y ritmos pegadizos, en 2009 lanzaron su primera maqueta “Tirando la Basura” (http://www.hhgroups.com/maqueta-9539/Tricoma-sound-system-Tirando-la-basura/), en la que pusieron a disposición 10 temas en los que cantan y rapean a los problemas sociales, al paro, al pacifismo o a la situación económica de la gente de la calle. Destaca un tema extra, “Humo y trincheras” el primero que compusieron, que dedican a Huelva y a su alcalde y que con una melodía rítmica nos cuenta la problemática de Huelva y la contaminación. 

De esta maqueta se realizaron más de 1500 descargas en internet el primer mes y hasta hoy llevan casi 5200 Con este trabajo fueron seleccionados en el concurso de maquetas “Al Calor de tu Música 09” patrocinado por el Ayuntamiento de Huelva, Cadena 100 y Cepsa, lo que les dio pie a realizar numerosos conciertos y festivales tanto por la provincia (Marabunta Festival, Bemba-Huelva, Parque de la Esperanza-Huelva, Calañas, Nerva, etc.) como en Sevilla (sala Microlibre) o Madrid (blazing fire) , compartiendo escenario con grupos de primer nivel como “JotaMayúscula”, Newton, Kiffa, Bangarang Sound o Pachamama Crew, entre otros.

A mediados de Enero de 2010 lanzaron su segundo trabajo “Cajón De’Sastre Vol.1” (http://www.hhdirecto.net/maquetas/ver/tricoma-sound-system/cajon-desastre-vol1/15936) que consta de dos volúmenes. El Volumen 1 se presenta con 13 canciones, con colaboraciones de Fran Romera y Héctor Guerra (Pachamama Crew). Las 7800 descargas hoy en día de dicho trabajo le valieron para hacer directos en el Teatro España (La Palma del Condado), I Fiesta de la cerveza, Pub Sport Tavern (Punta Umbría) y KST Festival, compartiendo escenario con bandas importantes como Dr. Inferno, Son de Nadie y la La Trueke Band. 
Ese mismo verano volvieron a ser seleccionados en “Al calor de tu música 10”. En febrero de 2011 sacaron un adelanto de “Cajón De’Sastre” Vol.2 disponible ya en http://soundcloud.com/profetagarrido . En estos momentos ultiman los detalles de producción. 
La sound system ha producido este año “Somos Guerrilla” (zampaxeves e Inia) (http://www.hhdirecto.net/maquetas/ver/zampaxeves-inia/tricoma-sound-system-presenta-zampaxeves-inia-somos-guerrilla/31264) y está preparando el lanzamiento de un nuevo trabajo de Diego-TRON-Fernández además del trabajo en solitario de Sergio Valiente “Al otro lao del muro”.

Actualmente son miembros colaboradores de la plataforma PLOCC (Plataforma Onubense de Cultura Contemporánea) y han participado en eventos como las ediciones de PLOCC-MANTA y  EXEPRIMENTACIONES con actuaciones en directo, “top manta” y colaboraciones de sonorización. También están inmersos en un proyecto taller de Hip Hop para chavales con riesgo de exclusión social en el distrito V de Huelva.


http://soundcloud.com/somnoroase-pasarele

Computer music


Computer music is a term that was originally used within academia to describe a field of study relating to the applications of computing technology in music composition; particularly that stemming from the Western art music tradition. It includes the theory and application of new and existing technologies in music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, and psychoacoustics. The field of computer music can trace its roots back to the origin of electronic music, and the very first experiments and innovations with electronic instruments at the turn of the 20th century. More recently, with the advent of personal computing, and the growth of home recording, the term computer music is now sometimes used to describe any music that has been created using computing technology.


Computer music programming languages
Much of the work on computer music has drawn on the relationship between music theory and mathematics. The world's first computer to play music was CSIRAC which was designed and built by Trevor Pearcey and Maston Beard. Mathematician Geoff Hill programmed the CSIRAC to play popular musical melodies from the very early 1950s. In 1951 it publicly played the Colonel Bogey March[1] of which no known recordings exist. However, CSIRAC played standard repertoire and was not used to extend musical thinking or composition practice which is current computer-music practice.

The oldest known recordings of computer generated music were played by the Ferranti Mark 1 computer, a commercial version of the Baby Machine from the University of Manchester in the autumn of 1951. The music program was written by Christopher Strachey. During a session recorded by the BBC, the machine managed to work its way through "Baa Baa Black Sheep", "God Save the King" and part of "In the Mood".[2]

Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendents, further popularising computer music through a 1962 article in Science. Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet.[3]

Early computer-music programs typically did not run in real time. Programs would run for hours or days, on multi-million-dollar computers, to generate a few minutes of music.[citation needed] John Chowning's work on FM synthesis from the 1960s to the 1970s, and the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music. By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.[citation needed]

Advances

Advances in computing power and software for manipulation of digital media have dramatically affected the way computer music is generated and performed. Current-generation micro-computers are powerful enough to perform very sophisticated audio synthesis using a wide variety of algorithms and approaches. Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather than the exception.

Research

Despite the ubiquity of computer music in contemporary culture, there is considerable activity in the field of computer music, as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches.Throughout the world there are many organizations and institutions dedicated to the area of computer and electronic music study and research, including the ICMA (International Computer Music Association), IRCAM, GRAME, SEAMUS (Society for Electro Acoustic Music in the United States), CEC (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

Computer-generated music

Computer-generated music is music composed by, or with the extensive aid of, a computer. Although any music which uses computers in its composition or realisation is computer-generated to some extent, the use of computers is now so widespread (in the editing of pop songs, for instance) that the phrase computer-generated music is generally used to mean a kind of music which could not have been created without the use of computers.

We can distinguish two groups of computer-generated music: music in which a computer generated the score, which could be performed by humans, and music which is both composed and performed by computers. There is a large genre of music that is organized, synthesized, and created on computers.

Computer-generated scores for performance by human players
Many systems for generating musical scores actually existed well before the time of computers. One of these was Musikalisches Würfelspiel (Musical dice game; 18th century), a system which used throws of the dice to randomly select measures from a large collection of small phrases. When patched together, these phrases combined to create musical pieces which could be performed by human players. Although these works were not actually composed with a computer in the modern sense, it uses a rudimentary form of the random combinatorial techniques sometimes used in computer-generated composition.

The world's first digital computer music was generated in Australia by programmer Geoff Hill on the CSIRAC computer which was designed and built by Trevor Pearcey and Maston Beard, although it was only used to play standard tunes of the day. Subsequently, one of the first composers to write music with a computer was Iannis Xenakis. He wrote programs in the FORTRAN language that generated numeric data that he transcribed into scores to be played by traditional musical instruments. An example is ST/48 of 1962. Although Xenakis could well have composed this music by hand, the intensity of the calculations needed to transform probabilistic mathematics into musical notation was best left to the number-crunching power of the computer.

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart. A present exponent of this technique is David Cope. He wrote computer programs that analyse works of other composers to produce new works in a similar style. He has used this program to great effect with composers such as Bach and Mozart (his program Experiments in Musical Intelligence is famous for creating "Mozart's 42nd Symphony"), and also within his own pieces, combining his own creations with that of the computer.

Music composed and performed by computers
See also: Generative music, Evolutionary music, and Genetic algorithm
Later, composers such as Gottfried Michael Koenig had computers generate the sounds of the composition as well as the score. Koenig produced algorithmic composition programs which were a generalisation of his own serial composition practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the Institute of Sonology in Utrecht, Holland in the 1970s.

Procedures such as those used by Koenig and Xenakis are still in use today. Since the invention of the MIDI system in the early 1980s, for example, some people have worked on programs which map MIDI notes to an algorithm and then can either output sounds or music through the computer's sound card or write an audio file for other programs to play.

Some of these simple programs are based on fractal geometry, and can map midi notes to specific fractals, or fractal equations. Although such programs are widely available and are sometimes seen as clever toys for the non-musician, some professional musicians have given them attention also. The resulting 'music' can be more like noise, or can sound quite familiar and pleasant. As with much algorithmic music, and algorithmic art in general, more depends on the way in which the parameters are mapped to aspects of these equations than on the equations themselves. Thus, for example, the same equation can be made to produce both a lyrical and melodic piece of music in the style of the mid-nineteenth century, and a fantastically dissonant cacophony more reminiscent of the avant-garde music of the 1950s and 1960s.

Other programs can map mathematical formulae and constants to produce sequences of notes. In this manner, an irrational number can give an infinite sequence of notes where each note is a digit in the decimal expression of that number. This sequence can in turn be a composition in itself, or simply the basis for further elaboration.

Operations such as these, and even more elaborate operations can also be performed in computer music programming languages such as Max/MSP, SuperCollider, Csound, Pure Data (Pd), Keykit, and ChucK. These programs now easily run on most personal computers, and are often capable of more complex functions than those which would have necessitated the most powerful mainframe computers several decades ago.

There exist programs that generate "human-sounding" melodies by using a vast database of phrases. One example is Band-in-a-Box, which is capable of creating jazz, blues and rock instrumental solos with almost no user interaction. Another is Impro-Visor, which uses a stochastic context-free grammar to generate phrases and complete solos.

Another 'cybernetic' approach to computer composition uses specialized hardware to detect external stimuli which are then mapped by the computer to realize the performance. Examples of this style of computer music can be found in the middle-80's work of David Rokeby (Very Nervous System) where audience/performer motions are 'translated' to MIDI segments. Computer controlled music is also found in the performance pieces by the Canadian composer Udo Kasemets such as the Marce(ntennia)l Circus C(ag)elebrating Duchamp (1987), a realization of the Marcel Duchamp process piece Erratum Musical using an electric model train to collect a hopper-car of stones to be deposited on a drum wired to an Analog:Digital converter, mapping the stone impacts to a score display (performed in Toronto by pianist Gordon Monahan during the 1987 Duchamp Centennial), or his installations and performance works (e.g. Spectrascapes) based on his Geo(sono)scope (1986) 15x4-channel computer-controlled audio mixer. In these latter works, the computer generates sound-scapes from tape-loop sound samples, live shortwave or sine-wave generators.

Computer-Aided Algorithmic Composition


Diagram illustrating the position of CAAC in relation to other Generative music Systems
Computer-Aided Algorithmic Composition (CAAC, pronounced "sea-ack") is the implementation and use of algorithmic composition techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label computer-aided composition lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label algorithmic composition is likewise too broad, particularly in that it does not specify the use of a computer. The term computer-aided, rather than computer-assisted, is used in the same manner as Computer-Aided Design.

Video-Driven Soundtrack Composer

A new concept insofar as the music generated is driven by an associated video. This process has been developed by Tunepresto and is available as a commercial product, Abaltat Muse, for users to create their own music based on their video pictures or slideshows. The process involves an analysis of the color saturation in the pictures, together with the calculation of the duration of the footage. The user then chooses a style of music and a soundtrack is created using the video analysis information combined with the rules of the chosen musical style. The music generated is royalty-free since the user is the originator of the music.

Machine Improvisation

See also: Machine learning, Machine listening, Artificial intelligence, and Neural networks
Machine Improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic reinjection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.

Statistical style modeling
Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data. Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data. Style mixing can be realized by analysis of a database containing multiple musical examples in different styles. Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes. Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree and string searching by factor oracle algorithm (basically a factor oracle is a ﬁnite state automaton constructed in linear time and space in an incremental fashion[4]).

Uses of Machine Improvisation
Machine Improvisation encourages musical creativity by providing automatic modeling and transformation structures for existing music. This creates a natural interface with the musician without need for coding musical algorithms. In live performance, the system re-injects the musician's material in several different ways, allowing a semantics-level representation of the session and a smart recombination and transformation of this material in real-time. In offline version, Machine Improvisation can be used to achieve style mixing, an approach inspired by Vannevar Bush's memex imaginary machine.

Implementations
Matlab implementation of the Factor Oracle machine improvisation can be found as part of Computer Audition toolbox.

OMax is a software environment developed in IRCAM. OMax uses OpenMusic and Max. It is based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov and on researches on improvisation with the computer by G. Assayag, M. Chemillier and G. Bloch (aka the OMax Brothers) in the Ircam Music Representations group.

Musicians working with machine improvisation
Gerard Assayag (IRCAM, France), Jeremy Baguyos (University of Nebraska at Omaha, USA) Tim Blackwell (Goldsmiths College, Great Britain), George Bloch (Composer, France), Marc Chemiller (IRCAM/CNRS, France), Nick Collins (University of Sussex, UK) Shlomo Dubnov (Composer, Israel / USA), Mari Kimura (Juilliard, New York City), George Lewis (Columbia University, New York City), Bernard Lubat (Pianist, France), Joel Ryan (Institute of Sonology, Netherlands), Michel Waisvisz (STEIM, Netherlands), David Wessel (CNMAT, California), Michael Young (Goldsmiths College, Great Britain), Pietro Grossi (CNUCE, Institute of the National Research Council, Pisa, Italy), Toby Gifford and Andrew Brown (Griffith University, Brisbane, Australia).

Live coding

Main article: Live coding
Live coding[5] (sometimes known as 'interactive programming', 'on-the-fly programming',[6] 'just in time programming') is the name given to the process of writing software in realtime as part of a performance. Historically, similar techniques were used to produce early computer art[citation needed], but recently it has been explored as a more rigorous alternative to laptop musicians who, live coders often feel, lack the charisma and pizzazz of musicians performing live.[7]

Generally, this practice stages a more general approach: one of interactive programming, of writing (parts of) programs while they are interpreted. Traditionally most computer music programs have tended toward the old write/compile/run model which evolved when computers were much less powerful. This approach has locked out code-level innovation by people whose programming skills are more modest. Some programs have gradually integrated real-time controllers and gesturing (for example, MIDI-driven software synthesis and parameter control). Until recently, however, the musician/composer rarely had the capability of real-time modification of program code itself. This legacy distinction is somewhat erased by languages such as ChucK, SuperCollider, and Impromptu.

TOPLAP, an ad-hoc conglomerate of artists interested in live coding was formed in 2004, and promotes the use, proliferation and exploration of a range of software, languages and techniques to implement live coding. This is a parallel and collaborative effort e.g. with research at the Princeton Sound Lab, the University of Cologne, and the Computational Arts Research Group at Queensland University of Technology.

Thanks for the support.

2-Voice
Microwave
JX-10
SP12
s900
Indigo
Shruthi
K4R
TX81Z

I have a video on YouTube <a href="http://youtu.be/F6Pcw03Vzng" rel="nofollow" target="_blank">http://youtu.be/F6Pcw03Vzng</a>

<a href="mailto:m4thlab@gmail.com" rel="nofollow" target="_blank">m4thlab@gmail.com</a>

Stevie Fitz is a UK-based artist, producer, and creative visionary whose sound bridges the pulse of underground club culture with the soul of melodic storytelling. Known for genre-blending releases that span tech house, progressive house, melodic house, techno, drum and bass and chill, Stevie crafts music that moves bodies and minds in equal measure.

IVE DONE SOME OFFICIAL REMIXES ON LABELS LIKE UNIVERSAL REPUBLIC FOR ARTISTS LIKE DEV ENRIQUE IGLESIAS PITBULL LIL WAYNE JESSIE J KAT DELUNA ZANDER BLECK AND THEN I MAKE SOME ORIGINAL SHIT TOO ON LABELS LIKE CR2 SPINNIN AND WARNER AND JOIA/NERO AND DOPE BLOGGERS LIKE ARJANWRITES AND HYPETRAK AND POPCRUSH POST MY SHIT SOMETIMES (IF THEYRE FEELIN IT) AND BIG DJS LIKE TIESTO AND SWEDISH HOUSE MAFIA HAVE PLAYED MY SHIT IN CLUBS AND RADIO SHOWS. AND THEN I DJ WHEN I FEEL LIKE IT TOO . 



Von Sleight formed in June 2005 in an attempt to merge analog synthesizers, homemade instruments, electrified
household objects, and other strange percussive devices. We are influenced by many types of music including
krautrock (Neu!, Can, Faust, Cluster, early Kraftwerk), space rock (Heldon, Hawkwind), Finnish avant-garde and
krautrock (Keuhkot, Circle, Cleaning Women), early industrial (Einsturzende Neubauten, Coil), and San Francisco
Bay Area avant weirdness (The Residents, Sleepytime Gorilla Museum, Idiot Flesh, Secret
Chiefs 3, Moe!kestra).

The first album, Fringe Biology, is mostly a one-take experimental space rock session cut into multiple tracks and
was completed in 2005. The second album, Signs of Life, was completed in 2006 and is a more structured and
eclectic mix of styles than the first, varying from ambient krautrock to Joy Division meets Tiki exotica to early
industrial with tinges of jazz. Scandinavia Darkly, the third full-length release from 2007, was inspired by adventures
in Scandinavia and mixes MIDI instruments with homemade instruments/objects/devices and analog synthesizers. 
Styles include the Residents meet Kraftwerk "Radiation in the Eyeball", Finnish painter/graphic artist Hugo Simberg 
inspired "Symphony For Simberg", and Charles Mingus / African Head Charge hybrid "Sibelius and Salmiakki". 
The fourth album, Sieves & Cyphers, was completed in 2008 and will be released with a companion EP. Both of 
these releases emphasize the use of the Kaoss Pad, mixed with rhythmic freakouts, jazz, and Der Plan-like percussion.

New Kraut, the fifth album, will be release on Fringe Biology Recordings on 10/10/10 for their 10th release. 
This album takes the avant-electronic, jazz, space rock, and warped pop styles from previous albums and infuses these 
sounds with Krautrock and dub. The result is something like the analog tape recordings of Neu! being accidentally spliced 
together with Hawkwind, Cluster, Lee "Scratch" Perry, Miles Davis, and The Residents. The instruments used on this album 
include the Korg MS-20 analog synthesizer, fretless bass, Electribe, trumpet, electronic and analog drums, Kaossilator, and 
MIDI instruments. The video for the title track follows a UFO that delivers New Kraut to the good people of earth. Like a virus 
from outer space, the New Kraut is discovered and gets propagated into supermarkets for mass commercialization. New Kraut 
is not a sandwich, it's a casserole.

PUBLIC TRACKS is following