Vocalist, soprano tesitura, singing teacher, performer.  Jazz and Classical.  Founder of Asociación Vocalissima and Eventos con Músicos

3000NDL a.k.a DJ FERRARI started his carrier when he’s 15 years old. In 2001, he joined experimental hip-hop label, PEEPing Records and he’s currently playing under the name, Yoco Organ (3000NDL, 0081 and Perutani) and contributing tracks for them. And,1st single "3000NDL" was released in 2007 by the japanese record label MOREC.

He’s working on more solo projects recently and tracks with delicate groove constructed with destructive rhythm and elegant spatial composition, which reflects his roots from Jazz, hip-hop and electronica.

Collective Acoustics is a group of 3 genre-bending musicians who believe in putting the human touch back into modern music.  Whether on stage, in the studio, or composing for Film & TV, the group aims to bring a fresh, organic approach to their sound.  All material is played on real instruments by real people and recorded with vintage and custom-built microphones, preamps, compressors and EQs. No Samples. No Loops.  No MIDI.  

Each member has writing credits on all major Network and cable TV stations as well as production and performing credits on a wide variety of commercial recordings in addition to touring with a wide variety of artists throughout North America and Europe.

George Hazelrigg can usually be found behind a stack of pianos, harpsichords, organs, synths, dobros, and guitars.  When he emerges, the band finds out if there will be six more weeks of winter.

On bass is Geoff Hazelrigg, the younger brother.  He is the group’s resident handyman, the engineer behind the board and will often build his own hardware when he becomes frustrated with the limitations of commercially available products.

Eric Hastings hits things for a living.  Mostly drums and cymbals.

On stage, Collective Acoustics performs in both an electric format featuring Drums, Organ, Rhodes, and Electric Bass, as well as a more intimate acoustic setting where the focus turns to the Upright Bass, Piano and Harpsichord.  Examples of their electric playing can be found on their debut release, Edges (CA001) and bc≥ad (CA003), while their acoustic style is featured on their sophomore release, Revision (CA002).  Guest vocalists and instrumentalists are a frequent occurrence at Collective Acoustics shows.

The band’s embrace of experimentation and openness, along with their reverence for the great artists, songwriters and producers from the past, and their refusal to categorize or be pigeonholed has led them to:

	Interpret modern pop songs and dance styles in a jazz trio setting
	Re-invigorating classical themes in an electrified rock setting
	Collaborate with a wide variety of vocalists and additional instrumentalists.
	Unabashedly tweak sacred ground (e.g., a house music version complete with 			dobro and upright bass of a Bob Dylan classic)
	Re-score educational and avant-garde films from the 1940s-1970s

All these experiences have led to the Collective Acoustics mission statement:

GOOD MUSIC IS NOT DEFINED BY STYLES OR GENRES, BUT BY GREAT SONGWRITING, INSPIRED MUSICIANSHIP, AND A SPIRIT THAT TRANSFERS FROM PERFORMER TO LISTENER. 

No matter where their work takes them, from scoring cues for reality TV to producing albums for everyone from classical to traditional to folk/pop artists to Polish rock n roll, to a tight improvising trio in concert, Collective Acoustics always strives to create fresh, original music and cultivate a signature sound focused on musical interaction, touch, experimentation, and audiophile quality production and engineering. 


La Orquesta de Improvisadores de Buenos Aires surge como grupo a partir de un workshop dictado por Chefa Alonso  (España) en el Centro Cultural de España de Buenos Aires en 2010. Está compuesta por músicos jóvenes provenientes de diversos ámbitos (intérpretes y compositores de música académica, músicos de jazz, productores de electrónica experimental); muchos de ellos integran otros ensambles de música experimental que actualmente están activos, tales como Angstrom, Buenisssimo, COSO, Ricarda Cometa y Coro de Cámara Zahir.

La Orquesta actualmente enfoca su trabajo en la creación de un vocabulario de señas propio, que apunta a fomentar la creación libre de los intérpretes. 

En paralelo, organiza experiencias formativas y de intercambio con otros músicos improvisadores del mundo.

Born in Rochester NY, Michael Kwong began studying the acoustic guitar in 1998 with local musician Dennis Monroe. Since then, he has released two other studio albums, and “The Turn” is his first acoustic album. Currently, he is studying with local jazz guitarist Steve Greene, and has recently immersed himself in the experimental noise scene in Rochester. Breaking out into the world of effects pedals and electric guitar, Michael is already working towards combining these elements with his traditional song-writing process.

The Turn reflects a momentous change in perspective. It is the celebration of obtaining one’s own freedom from one’s own inner obstacles. Yet just as the completion of this album is welcomed with great joy, it is also a reflection of leaving the past behind. It could be said then that The Turn is just as much of a death experience as it is a new beginning.

Imagine being locked into a certain perception of reality, working with the energy available in that state of mind to feed the creative process. Now try to imagine what it would be like for that perception to shift dramatically. With that shift would come an entirely new way of viewing life, thinking, and creating. The Turn represents this momentous change.

My entire artistic process since I first picked up the guitar has been about arriving at the point in time that follows the release of this album. The songs on the album itself do the best they can to capture the journey I’ve taken to reach the state of mind that I am in today.

So celebrate with me the power of inner change, and the beauty of new beginnings. 

Sincerely,
Michael Kwong

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.

We're a Music Production Team/Mic holders/Graphic Design & Illustration/Photography/ Multi Media Team. Hip Hop all day long!!!

    Members:
    Supremeson / Analyze / Propa / You / Omega The Ending / The Wick / ProMeg / TyChy / Suprem'Ending / Lucchi-Signif-Us2Uk / Ben-The Media Man / Jay-D-Will / PropaLee


http://www.facebook.com/home.php?#!/pages/ASTAR/135710063578?ref=ts


    Genre:
    Ani-Hop, Hip Hop / Jazz / Fusion / Experimental / Anime Hop / D-N-B / Dub Step / Pop Art / Photography / Graphic Design & Illustration

There are a lot of things wrong with the world right now. Brandon Green knows that.

Until recently, the 21-year-old Boston-based songwriter-composer-producer-bassist wasn’t sure how to do anything about it. Brought up in the affluent suburbs of southern Connecticut, wrong was everywhere, but usually covered with a shiny facade.

Taken By Name, as a result, is a musical exploration into what is real. Everything is given a name or label to represent itself, and it is up to the perceiver to truly finding meaning in it, or simply taking it for what it is. Each song or composition is part of a collective work to survey Brandon’s delving into what he feels, as well as how he fits in a constantly changing, perpetually wrong society. Brandon claims that his influences are “from Nine Inch Nails to Funkadelic to late-Romantic experimental classical music to what I see on the subway on the way to work.” A Taken By Name songs take root in Brandon’s life experiences; that quality makes the music real. The music is real, no matter the number of layers of noise Brandon places on the music. (Brandon maintains complete artistic control of the project and records all music himself in his Boston apartment.) The 80s-tinged “Dreamer” is a powerful confession of love and the fear of losing it; the droning, suspenseful “Switch On” analyzes the temptation of a monotonous, destructive lifestyle.

All of the music culminates into the overriding concept of Taken By Name’s upcoming debut album, Kid Lightbulb, in which Brandon hopes to depict one’s struggle to find love & meaning in a culturally crippled nation. The album is currently being written and recorded and Brandon hopes to have it released by the end of 2009. The album’s precursor, The Unspeakable EP, is available in all major online marketplaces.

Brandon’s foray into music has been a lengthy one, demonstrating skill at the piano at the young age of four. Winning several awards in piano performance throughout his childhood years, he discovered rock and funk and sought more, and thus picked up the bass guitar, essentially teaching himself the instrument. Brandon then helped form the instrumental-prog-rock quartet Bushwhack in his hometown, providing bass, programming and a hefty amount of composition. While he left the band in late 2008 to pursue his solo efforts, this lengthy musical collaboration set Brandon on a musical path, allowing him to hone both his songwriting ability and live performance skill and antics.

But there’s the rub: Taken By Name is currently a studio-only act, existing solely within Brandon’s and the Internet’s jurisdiction. Brandon itches to bring Taken By Name to the stage soon, but wants to do so with the right group of musicians: “3 or 4 more to not only capture the sound of Taken By Name, but bring something completely new to the table, not only a reinterpretation of my music but that of the scene as a whole. I see no band in the Boston music scene that could be as potentially inventive, exciting and thought-provoking as a live Taken By Name. I have so many ideas that I want to just throw out and see what catches on.” Ideas range from an industrial rock cover of Curtis Mayfield’s funk classic “Freddie’s Dead” to a jazz-inflected jam utilizing multiple bass guitars to an integration of Brandon’s more avant-garde electronic works.

And that’s really what it comes down to: an endless meshing of styles, tempos and rhythms to find out what makes them real. “Plus, they’ll be incredibly fun to do.” In a world full of charades, it’s nice to know that something real can also be fun.

Taken By Name’s debut, The Unspeakable EP, is now available in most online markets. Details regarding a live entity for Taken By Name are coming soon, followed by gig dates and information regarding the upcoming debut album.

smooth operator -
love for deep digging soul, jazz, disco, house, garage, experimental and hiphop music.

space is the place, so fly high!

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