Hey this is ChrisTopher and I am a guitarist. I also like to create websites, graphic designs, 3d characters, and animation. I've been messin around with making my very first video game too. I played games since I was like 4 up, and from Atari on, so I figured why not give it a shot. My real passion is writing songs, or just lyrics sometimes to get things out of my head. I go to put it on a track with a little  rhythm guitar and most of the time it's like magic, and it all seems to just fit right into it's own spot, and it all sounds great. I like to write music that I want to listen to. I like to play some bluesy like lead, speed metal, and classical finger picking style guitar and just mesh it all together into one crazy kool style of guitar playing which leads us up to how I became me and how I became to play the way that I do today. I am currently looking for a band that is either on tour and opening up for some big bands or is about to. I would like to just hop into the band and start playin lead guitar. If I where to start a new band from scratch I would like to sing and play a lot of rhythm that has a lot of double picking, palm muting, thrash to it. I also like to play a mellow note every once and a while I get into these moods that make me play these slow sad songs and melodies that make you cry type of sound. Appegios with a minor twist from hell ha hah ahaa! If you need to get a hold of me you can email me at owner@chriscrowell.com or you can call me on my cell at (813) 833 8254. Thats a Florida number if your wondering. I up also up for doing a collaboration with someone as well if you need a vocal track and words written, or a lead track, or some heavy metal rhythm I can do it! I have a mobile studio that uses fire wire so the quality is actually pretty impressive! I would like to have someone lay some drums on top of a few tracks that I have to is anyone wants to do it let me know a.s.a.p.!

What’s more amazing than one insanely talented young artist? Two. Hailing from a blank canvas waiting to be destroyed by the colours of the techno, progressive and big room house spectrum, Saturate & Dissolve intend to do a little more than brew up just a mix or two in the test tubes of dance! For Queensland born Andrew Morrison and Cody Kings, a mix of the best music culture and distinct talented ear have brought them along way quick as a duo rising for the ultimate beats. 

For Andrew, surrounded by music as a child with his family influencing, saw him evolving with tunes from eras that made music a solid outlet in the lives of many. From Queen to Rod Stewart, the cassette to CD era took prominence signing off on a key signature for this one’s future. Growing up within a pop and rock induced sound, Andrew was seduced but held his roots when dance music shone for him at some during the Australia’s hottest festival experiences. Drawing the card in the studio, was always prevalent amping a solid seven years of writing duties both electronically and with lava flowing core in guitar. It wasn’t long until two talents were to collide in a good way…

Cody Kings has the ambition and buzz that every dance music icon wants to replicate. Underpinning a strong reel of rock and heavy metal influences from Beastie Boys to Metallica, Kings had the big gun guitar in his hands from the mini age of nine when he air guitar became..um- old. It's this dirty underground sound that persuaded the techno urge deep down in the Cody colt. Pumping out explosives and carving out the sound for the masses, the duo was bound to bring together an opulent menu of buzz. 

With Andrew’s production skills and Cody’s wit with a beat at a heavy bass line, the Yourshot DJ competition in 2012 made the tough competition merciful, literally dissolving exactly what it needed to in this duo.  After battling it out for weeks, the stage craved the talents of two! With a solid dream to one day support the likes of Daft Punk and headline the country’s hottest party riots, make it note to wire into these two soon!

Supported:
* Tujamo
* Kyro & Bomber
* Habstrakt

I'm Pablo Fontana alias Karate Slam, these days I built a "canjo" (very basic to play with "slide") and now I want them to listen to recordings ...

My first composition is entitled:

For Lola and her cats

It was recorded today, day Friday October 5, 2012 at night, with a cheap microphone plugged directly into my small computer, recording the sound with the "WavePad (NCH)" no effects ... just "normalizing the sound" ...

The "canjo" I've built with the following materials ...

_One Wood strip
_A Canned tomato can (clean)
_A Pin (timber with a puncture hole)
_A Chinese wire rope (one knot at the end and the other end can be inserted into the plug ...)
_A Small perfume bottle (with the function of nut)
_One Seal (to stop the small boat perfume)
_Two Eyebolts to hang the "canjo" with a fishing line

Note: Paste the cheap microphone with tape on the bottom of the can ...

Soy Pablo Fontana alias Karate Slam, en estos dias estuve construyendo un "canjo" (muy basico para tocar con "slide") y ahora quiero hacerles escuchar las grabaciones...

Mi primera composicion se intitula:

Para Lola y sus gatos

Fue grabada hoy, dia viernes 05 de octubre de 2012 por la noche, con un microfono barato conectado directamente a mi pequeño ordenador, grabando el sonido con el programa "WavePad (NCH)" sin efectos...tan solo "normalizando el sonido"...

El "canjo" lo he construido con los siguientes materiales...

_Un liston de madera
_Una lata de tomate en conserva (limpia)
_Una clavija (agujere la madera con un taladro)
_Una cuerda de alambre chino (uno extremo lo anude a la lata y el otro extremo se inserta en la clavija...)
_Un pequeño bote de perfume (haciendo la funcion de cejuela)
_Un precinto (para frenar al pequeño bote de perfume)
_Dos cáncamos para colgarme el "canjo" con una tanza de pesca

Nota:Pegue el  microfono barato con cinta en la parte de abajo de la lata...

I'm an upcoming artist out of Boise, Idaho known as C-Note!! I was raised by my mom, and sister because my dad was rarely around growing up so I was drawn to the people I was around which were all involved in a life of crime and found love in the streets from the older cats that looked out for me. Iv'e always had a passion for music and was writing raps at the age of 13 but my household was too full of chaos with my mom battling a drug and alcohol addiction for me to fully pursue my dreams. I didn't actually start recording and consistently writing music until the end of 2012 . Iv'e been through a lot in my life and especially for someone my age but I stay optimistic because I know it only makes me stronger in the end! Nothing in this life can hold you down unless you let it!! For many years I was a product of the environment I was raised in and all of my music portrayed it. The music has been a release for me to let go of all the anger, pain, and tragedies I witnessed as a kid, a young adult, and all throughout life. I was indicted in early 2016 for selling bud to a person I called a "friend" when he wore a wire on me to get his charges reduced. Several months later while still awaiting sentencing I got indicted again for Intimidating that same witness from a song I wrote. When I started writing music it was a combination of my passion for music and just a fun hobby id do with my bro but now I'm fully pursing this as a career, and wont stop until I'm successful! Iv'e made almost a hundred tracks since 2012 but none of my old music is available right now. At the end of the day I'm just doing what I enjoy and that's making music about what Iv'e been through, what Iv'e did, and things I've experienced through out life!
~C-Note~

I need money!!!!! Send here....you can donate to my paypal at this paypal listed here
https://www.paypal.me/michealhelmig
and you can e transfer me an e transfer with the security question answer BUCK DHARMA to one of these two emails i have auto deposit set up at, the two emails are;
linkyboimnm1909520@gmail.com 
linkyboymnmnm509509@gmail.com

Tyler Higgins plays experimental music abstracted from folk/blues/jazz traditions.  His tape "Lonely and Blue" came out on Scissor Tail Editions in 2015.  
 "Blue Mood" was released on Clean Feed/Shhpuma in 2018. Currently shopping "Broken Blues" with labels. Recording a 4th record now - a sampler-based jazz album.
"Tyler Higgins' Blue Mood, his forthcoming record on Clean Feed, is a thing of sparest beauty, for fans of Vincent Gallo, Taku Sugimoto, Bill Frisell, and Hisato Higuchi." - Spencer Grady (writer/editor at Jazzwise Magazine) 

“Being such a deft player and writer, Tyler Higgins could easily settle on sturdy finger-picking, sparse minimalism, gentle balladry, or many other well-earned styles. But instead he's decided to do it all on a single album, and "Lonely and Blue" is the rich, engaging result. But this is no schizoid role-playing. Higgins fully commits to every moment, such that his sonic variety has a clear tonal consistency. It's all about a mood, one that proves remarkably contagious from the first note to the last.” 
- Marc Masters (writer for Pitchfork, The Wire, Signal to Noise)

Cyril Pahinui, the son of musical legend, Gabby Pahinui, is, in his own right, one of Hawai‘i’s most gifted guitarists and singers. Cyril has twice played at Carnegie Hall, has contributed to three Grammy Award-winning albums, received several Hoku Hanohano Awards, and recorded on more than 35 Hawaiian musical releases. As a slack key guitarist, Cyril’s technical virtuosity, rhythmic adaptations, and instrumental harmonics impart the soul of Hawaiian music, and his beautiful, emotive, and well-recognized voice renders an intimate picture of his Pacific island home.

I was born on April 21, 1950, and grew up in Waimanalo at the foot of the Ko‘olau Mountains on the windward side of Oahu. I started playing music from the time I could hold an ukulele, began learning slack key at age seven, and performed on stage for the first time when I was 12. I grew up with four sisters and five brothers, and we all learned music in the traditional way, by listening and watching my dad and other musicians.

In those days, we didn’t get music lessons, and most of the musicians I knew didn’t read music. Most of the techniques were considered to be secret and were not shared outside the family or music community. We really had to work hard to learn. My dad would slack all of his strings and hide his guitar in the closet at night because he knew we would sneak in to try and figure out his tunings once he was asleep. He could always tell when someone had been in his guitar case. That was the style in the old days; if you really wanted to learn, you had to listen. Once I began to learn, I would get up at 4:00 in the morning and make my dad breakfast so that he would spend time with me before leaving for his job—just me, one-on-one with my dad. When he had shared something new, he would expect me to practice, and the next time I played, I could tell he was listening to see if I had mastered it. Then he would share something else.


Atta, Phil, Gabby, Cyril, and Martin in the family back yard.
Our home in Waimanalo attracted many well-known musicians, including slack key masters Leland “Atta” Isaacs, Sonny Chillingworth, and Ray Kane, along with David “Feet” Rogers, Joe Marshall, Aunty Genoa Keawe, and Eddie Kamae. Weekends at the Pahinui home were a continuous jam session, as we hosted dozens of musicians, both young and old, who came by to jam with "the Master." With a welcoming pot of beef stew and rice always on the stove, our home became the perfect setting for a rejuvenation of Hawai‘i's musical traditions. As my dad’s fame grew, attendance at the weekend jam sessions mushroomed—sometimes hosting a hundred or more musicians and fans. The jam sessions would begin early on Friday morning and continue straight through to Monday morning.

My dad and his many musician friends always encouraged me and my brothers to participate and to add something to the music. When I was 15, my dad invited me to join his group, The Gabby Band. One day he just asked me, “Son, would you like to earn a little money?” For me that was like receiving a Grammy—just to know that he recognized my commitment and considered me to be on his level. I also think that was the day that I knew I would continue my music. After that, my dad would ask me every morning, “Son, are all the instruments tuned?” Tuning the instruments became my responsibility and my next level of training. Because my dad had a perfect ear, he could be somewhat impatient, so I had to train myself to be more precise. Now, I am so grateful for his strict discipline. My training taught me to tune and play by ear, and that is what I still do, even today.

Music was my dad’s life, and in many ways he was ahead of his time. He loved classical music, and liked jazz and Mexican music. As his children grew to share his love of music, he always told us, "Play whatever you feel, whatever makes you happy, but always respect Hawaiian music and keep it in your heart."

I shared my generation's passion for rock-and-roll, from Fats Domino and Little Richard to the Beatles and the Rolling Stones, but that was never a roadblock to playing slack key. My father loved the Beatles, too; his favorite Beatles song was Hey Jude. In fact, sometimes my dad would ask me to play familiar Beatles and Stones riffs as introductions to traditional Hawaiian songs. Most people probably don’t realize it, but some of these intros and my arrangements are the distinguishing parts of my dad’s renditions.

I continued to play with my dad throughout my teens, and during this same time, my older brother Bla and I started a rock band, called The Characters. I joined a rock group called Sam and the Samlins. In 1968, I made my first album with the Sunday Manoa, and after returning from two years’ service in Vietnam, I rejoined my dad, brothers, Sonny Chillingworth, Atta Isaacs, and others in the Gabby Pahinui Hawaiian Band. I arranged songs and played a variety of instruments on all five of my dad’s albums on the Panini Label. During this same period, I worked with Palani Vaughan, on his Ia ‘Oe E Ka La albums, which chronicled the music and times of King David Kalākaua.

In 1975, I formed my own group, The Sandwich Isle Band. From there, I went to The Peter Moon Band, which also included my brother Martin. With The Peter Moon Band, I played and sang on four albums, including Cane Fire, which received seven Nā Hōkū Hanohano Awards in 1983, including Album of the Year, Group of the Year, and Song of the Year. Throughout the 1980s, I also played with steel guitarist Greg Sardinha, my brother Bla, and others, and continued to expand my musical horizons.”

In 1988, I recorded Cyril Pahinui, an album of traditional and contemporary songs, which won the Nā Hōkū Hanohano Awards for Best Contemporary Hawaiian Album and Best Male Vocalist. In 1992, at the urging of my mother, and accompanied by session heavyweights Ry Cooder, David Lindley, and Jim Keltner, I joined my brothers Martin and Bla for the Pahinui Brothers album. Recorded on Maui, this album included two traditional songs associated with my father, Henehene Ko Aka and Panini Pua Kea, and a cover of John Lennon’s classic, Jealous Guy.

In 1990, I began recording for Dancing Cat Records. My first Dancing Cat release, 6 & 12 String Slack Key Guitar, won a Nā Hōkū Hanohano Award for Instrumental Album of the Year in 1994. I then recorded Night Moon—Po Mahina in 1998, which featured a version of Hi‘ilawe. In 1999, I recorded a third Dancing Cat release, a duet album with Bob Brozman, Four Hands Sweet & Hot, which won the Nā Hōkū Hanohano Award for Instrumental Album of the Year in 2000. Brozman has so much energy; he doesn’t hold back anything when he plays. When we were recording this album, he kept getting cramps in his fingers because we were playing so fast. I remember George Winston of Dancing Cat Records laughing, because he had never seen Bob Brozman get cramps before.

In 1993, I participated in a slack key/country and western crossover when I played on a Randy Travis release, Wind in the Wire. Beginning that same year, and for seven years running, I also participated in the annual Chet Atkins Appreciation Society guitar convention in Nashville. My dad had been good-friends with Atkins, and they were planning to do an album together. When my dad passed away, Chet recorded the song Pu‘uanahulu in memory of my dad. When Chet found out that I was Gabby’s son, he invited me to attend his convention. As we were getting ready to play, Chet would say, “Cyril, what tuning are you in?” and I’d say, “Chet, this is an open C.” His eyes would open wide, and he would say, “What is that?” Not being a slack key player, he had never heard of that tuning.


Hi‘ilawe workshop at the base of the famouse Waipi‘o waterfall.
Over the years I have also had the opportunity to record with the Makaha Sons, Teressa Bright, Fiji, Frank Hewitt, Pali Ka‘aihue, Amy Hanaiali‘i and have laid a few other guitar parts here and there for friends. I have toured to Germany, France, Switzerland, Belgium, Japan and across the U.S with Ledward Kaapana and Dennis Kamakahi.

In the late 1990s, I had the good fortune to participate in the historic Hawaiian music concerts at Carnegie Hall. My father always told us, “One day my sons’ time will come.” When I walked onstage at Carnegie Hall for the first time, I said, “Dad, we made it.” I could feel him there with me, his ears on my every note and I played as though he was the only one listening.

These days, I am still recording and performing, but I have given up the nightclub thing in favor of colleges and theaters. In my younger days, I used to close the bar, and before I’d know it, the sun would be out. Today, I have to put it in low gear and take it slow.

Over the last three years, I have performed on three compilation albums, Masters of Slack Key, Volume 1 and Legends of Hawaiian Slack Key Guitar—Live from Maui, and Treasures of Hawaiian Slack Key Guitar all of which won Grammy Awards for Best Hawaiian Music Album.

My own album, He‘eia, recorded on the Dancing Cat label and released in September 2007, met with a pretty good response and was nominated for a Grammy and won a Nā Hōkū Hanohano Award for Island Music Album of the Year. The title song, which was originally composed as a chant for King David Kalakaua, was one of my dad’s favorites. All of the tracks on He‘eia are completely solo with no effects or overlays—just one take on the 6 or 12 string guitar.


Cyril teaching in Waipi‘o Valley.
In 2010, we released Amy Hanaiali‘i and Slack Key Masters of Hawai‘i. Artists included Dennis Kamakahi, Jeff Petersen, Sonny Lim, and Chino Montera. Each artist is featured and includes several new compositions and new adaptations of Hawaiian classics. Working on the project was a lot of fun and it demonstrates what happens when musicians who respect each other and Hawaiian music traditions come together to share their music. We received a Grammy nomination for the album and 5 Nā Hōkū Hanohano Award nominations as well.

I am currently performing at the Kani Ka Pila Grille in Waikiki every Wednesday night. This is a very nice venue, we get a good crowd, and I really enjoy what I’m doing. I do the best I can to be natural and honest, to let the music say it all. I am still shocked and amazed that my playing sometimes makes people cry—not just women, but men too. When someone tells me this, I usually say, “I’m sorry that I made you cry, brother, but that’s how it is, straight from the heart.”

I really found my love when I started teaching in the schools and communities throughout the islands and where ever I travel to perform. I have some really great students coming up and I look forward to watching them and hearing my stylings and C tuning in their playing.

I have also started a series of workshops called He Huaka‘i E Pana Ai Ke Ea, A Journey to Bring Pulse to the Living. The workshops were inspired by longtime family friend, Uncle George Na‘ope. Uncle George was there in the early days with my family and working with him reminded me of my dad, very old school, with strict attention to protocol. That’s something that you don’t see too often anymore.

The first workshop in the series was built around the song, Hi‘ilawe, which was probably my dad’s signature. He didn’t compose it, but after hearing someone sing it on Moloka‘i, he fell in love with it. He recorded it seven different times and always included it in his performances. My brothers and I have also played and recorded the song, so it has become kind of a family trademark. One of the special things about the new workshop project is that it opened the way for me to travel to the Waipi‘o Valley and to bring my students there. Even though I have performed the song Hi‘ilawe in concerts all around the world, I had never actually seen its namesake waterfall until I started this project. To be there with the students, singing and teaching the song with the waterfall above us and hula dancers and taro patches surrounding us, was truly one of the most awe-inspiring experiences of my life. I could feel the spirits of the ancestors listening and their love for that place flow though my fingers and ring out through the steel strings and tones of my guitar.


He‘eia lesson.
Another workshop focused on He‘eia, the title song on my solo album. I have already visited the beach several times to take photos for the album and to video and am now researching the song’s composer and historic context. My new passion is to really get to the depth of the material and to share that with my students. It means so much more than just learning the chords and the words for the song. I am also trying to learn more Hawaiian language. In our family, we learned what we used in our music, but we were not allowed to converse in Hawaiian. Today, students can earn college degrees in Hawaiian language. I am anxious to see what this generation does with music composition. To be able to understand the language and culture enough to really compose is something I can only imagine.

Teaching with workshops was something that my dad didn’t do for us. With him, it was all eyes and ears, just watching and listening. It was difficult, but it paid off. By paying attention and listening, I can now share the music with others. I feel so grateful for all I learned from my dad. I can always feel his presence when I play, and he is still my inspiration and the soul of my music.

(E) Other profile (free) which is over my time ...

I hope they can be found in a new one ...

I have a new session ...

But I have to improve the composition to make improvisations on songs ...

I leave saying ...

HAPPY VALENTINE'S DAY! ...

LOVE MUSIC! ...

Pablo (Karate Slam), Málaga February 14, 2014.

(S) Otro perfíl (gratis) que se me ha acabado el tiempo...

Espero poderlos encontrar en uno nuevo...

Tengo una nueva sesión...

Pero tengo que mejorar la composición para convertir las improvisaciones en canciones...

Me despido diciendo...

¡¡¡FELIZ DÍA DE LOS ENAMORADOS!!!...

¡¡¡ENAMORADOS DE LA MÚSICA!!!...

Pablo (Karate Slam), Málaga 14 de Febrero de 2014.

FEB 2, 2014 / 10-02-2014

(E) February 6, 2014 a new session entitled "NOVA ESCOBA SESSIONS" ... continue experimenting with homemade musical broom ...

note: My girlfriend is writing a story about me ... she describes me as a kind of musical madman ... a dreamer ... a dream that does not end up in convincing reality ...

(S) 6 de febrero de 2014 otra nueva sesión intitulada "NOVA ESCOBA SESSIONS"...continúo experimentando con la escoba musical casera...

nota: Mi novia está escribiendo un relato acerca de mi...ella me describe como una especie de loco musical...un soñador...un sueño que no termina por convencer en la realidad..

On February 4, 2014 I recorded another new session with my broom (like musical hand made instrument) using besides the broom, ZOOM G1X, a cheap microphone, computer and program sound recording "WavePad (NCH)" immediately afterwards (before saving the file MONO) so I normalized ... and today became mp3 (5 February 2014).

My stage name is KARATE SLAM, I live in Málaga, Spain.

Note: broom canjo include the following, a broom that was bought at a Chinese store, nuts and bolts as homemade pegs (also bought at the same store of Chinese ...), a can of tomatoes (purchased the supermarket ...), wire (purchased at another store of Chinese ...), the wire rope is to be used as strings ...

El día 4 de febrero de 2014 grabé otra nueva sesión con mi escoba (como instrumento casero musical) utilizando además de la escoba, una ZOOM G1X, un micrófono barato, el ordenador y el programa de grabación de sonidos "WavePad (NCH)", acto seguido (antes de guardar el archivo MONO) lo normalicé... y hoy lo convertí en mp3 (5 de febrero de 2014).

Mi nombre artístico es KARATE SLAM, vivo en Málaga, España.

Nota: La escoba canjo se compone de lo siguiente, una escoba que fué comprada en una tienda de chinos, unas tuercas y tornillos como clavijas caseras (también comprada en la misma tienda de chinos...), una lata de tomate (comprada en el supermercado...), alambre (comprado en otra tienda de chinos...), el alambre es para usarlo como cuerdas de instrumento...

Balanced Audio - In Phase and On Time

"Production & recording solutions by musicians for musicians"

Mission:
Combining our knowledge of recording equipment and techniques from decades past with the most cutting edge plugins from the world of electronic music we bring an unrivaled, objective perspective to your project.

Description
We provide mixing, mastering, editing, engineering, producing rock and indie bands and radio show recording/mastering. Our studio base in Reading has a live room, vocal booth, control room, gorgeous 32-channel analog console, high quality monitoring, 24 channels of simultaneous digital recording, and a host of analogue outboard, instruments and the latest plugins.

At the helm of the Reading studio is James Billinge. He is devoted to realising the vision of the artists who come through the door with a focus on delivering projects efficiently and promptly. He graduated in 2008 with a Masters degree with honours in Audio Engineering. Since then he has been working at Outhouse studios with John Mitchell, and honing his skills alongside Prashant 'Engine-Earz' Mistry. James has worked with over 150 different artists and bands in the last 5 years including a variety in the UK from Attention Thieves to Crystal Seagulls, and a large number of European bands including Now, Voyager (Belgium), Intohimo (Sweden), and Deathbed Reunion (Norway). As recording artists ourselves, we fully understand the love that goes into a project. We are here to help other musicians fulfill their creative visions!

We can also provide live sound engineering solutions having recorded in a variety of venues from Notting Hill Carnival for the BBC recording Major Lazer, David Rodigan, Sean Paul and Skrillex, to Motion in Bristol for Red Bull Radio, capturing a variety of artists including Julio Bashmore. James has done live sound for Roni Size and Engine-Earz Experiment and mixed and mastered live recordings for The Darkness, You Me At Six and It Bites.


Products	

Mixing - Treating your separates with the love they deserve.
As legendary Greek rockstar Aristotle put it, “The whole is greater than the sum of its parts”.

Mastering - Applying an objective ear to your project, we help your songs work together as a cohesive, emotionally engaging stream of audio. If it's a single then we'll bring it up to the right volume for radio/club without destroying its perceived dynamics or balance. Knowledge and experience with a wide variety of genres.

Remote services - live in Europe/Outer Mongolia? On tour? Please note we also offer special rates for both remote mixing and mastering. You can get to the next venue, upload the files to our server and we'll do the rest!

Recording - Vocal / instrumental. OK, so James actually has an unhealthy obsession with microphones and placement. It's bizarre, its borders on the insane, but if you want something to sound amazing - this is the one! We have a wide assortment of mics and the knowledge to put them to the best use.

Live - sound mixing / on location recording - lots of experience in this field for live bands and organisations like the BBC & Red bull. Let us know your requirements and we can make it happen. We're a part of a network of top engineers so there's no job too large or too small.

Audio for Visual - 5.1 mixing, foley, audio for tv/video. Want a tighter sound to your live show promo video? Hit us up and we'll make you sound like a billion rupees. Plenty of previous experience, including The Darkness, Skrillex, Major Lazer, David Rodigan and more. We have also composed & mixed audio for large multi-brand advert campaigns like House of Fraser and had placements on U.S. TV including Fox, AMC & CBS as well as Sky and the BBC - we understand the levels of quality and pressure involved.

Restoration - we are equipped with forensic level audio restoration tools and the ears to match if you have a problem with your old recordings or need to rescue that killer take.

Online radio show/podcast production & recording - we're setup to record music mixes, talk-overs and jingles and then master through the same hardware limiters used by the BBC at Maida Vale studios, so you're all prepped and ready for broadcast or streaming.

Some talented folk we've loved working with...

On top of the studio having previously recorded/mixed/remixed hundreds of international artists including - Chart-topper Aloe Blacc, Solo Banton, Benny Page, Akala, Skitz, Rodney P, Jenna G, Shy FX, Foreign Beggars, Ol’ Dirty Bastard, Flux Pavilion, P-Money, Roots Manuva, Grammy-winner John Benitez, Golden Globe-winner Lisa Gerrard, Busta Rhymes, Basement Jaxx, DJ Shadow, Little Dragon, The Streets, Abi Sampa, Deadly Hunta, Tricky, DJ Kayper, BBC Radio 1’s Nihal, Engine-Earz, Jamaica’s Sean Paul, Dreadzone, Sweden’s Ane Brun, Norway’s Kate Havnevik, Nitin Sawhney, Meshuggah, Funtcase, Dynamite MC, India’s Monica Dogra, Ayanna Witter-Johnson, Get Cape. Wear Cape. Fly, Darrison MC, Lena Cullen, Reality Shock, Jah Mason, Mikey General, Data, Vocal Networking Navigator MC, and many more talented up and coming artists…

...here are a few of the artists James has worked with:

KEY: Studio engineered (E) / produced (P) / mixed (M)
Architects (tech metal- parts of the album 'Daybreaker') (E)
Fearless Vampire Killers (Theatrical rock – 1st album, 2 eps, 1 single (E/P/M), 2nd album (M)
Anavae (Latest single (E/P/M), forthcoming EP (E/P)
It Bites (Highly acclaimed Prog album-'Map Of The Past') (E/P/M)
Tudor Lodge (Acoustic Folk – latest album) (E/P/M)
Attention Thieves (Grunge – everything to date) (E/P)
Shadows Chasing Ghosts (Screamo – 2nd album) (E/P)
Arusha Accord (Tech math metal – debut album) (E)
Elissa Franceschi (Pop/ soft rock) (E)
You Me At Six (Pop-rock – latest album) (E)
The Eyes of a Traitor (Hardcore – lastest album) (E)
Your Demise (Hardcore) (E)
Don Broco (rock- 2nd EP) (E/M)
Deaf Havana (pop-rock-2nd album) (E/M)
Now Voyager (Belgian Tech Metal - 1st 2 EPs) (E/P/M)
Intohimo (Swedish Screamo – latest album) (E/P/M)
Deathbed Reunion (Norwegian Punk Rock – debut EP and debut album) (E/P/M)
Nothingness (French Hardcore – debut album) (E/P/M)
Second Function (Swiss Rock – 2nd album) (E/P)
My Passion (Electro rock – album and EP) (E)
Hugh Turner (Jazz funk – with Frank Tontoh on drums) (E)
Snakecharmer (album with players of whitesnake/Tina turner , and Adam Wakeman) (E/P/M)
Heights (Hardcore Metal – debut album) (E)
Avenge Vulture Attack (Pop-rock) (E/P/M)
Flights (Modern Progressive) (E/P/M)
Junkyard Scientists (Disco funk) (E/P/M)

Live recording (R) /mixing (M):
The Darkness (M)
You Me At Six (M)
It Bites (One album in Japan and one double live album/DVD) (M)
Major Lazer (R/M)
Skrillex (R/M)
Sean Paul (R/M)
David Rodigan (R/M)
Julio Bashmore (R/M)
Trojan djs (R/M)
Touchstone (R/M)

Live sound:
Roni Size (DnB)
Pendulum (DnB)
Engine-Earz Experiment (Dubstep)
Terror (Hardcore US Metal)
Nine High (Hip-Hop)
Junkyard Scientists (Disco funk)
Wire Jesus (Indie Pop)
Clark Hammond Duo (Jazz)
Ben Marwood (Solo Acoustic)
Nathan ‘Flutebox’ Lee
DJ Muzzell and Disablists (UK and UK Team DMC Champions respectively)

Please contact james.balancedaudio@gmail.com for availability, rates and specific requirements.

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