Eitan Reiter

Eitan Reiter (born December 3, 1982) is a musician and producer considered by many professional musicians as one of the most innovative and versatile electronic music producers. Eitan has released seven studio albums, one in his solo project under his own name, on album with Sebastian Mullaert ex minilogue, four studio albums as LOUD with Kobi Toledano and one album as Unoccupied with Nadav Katz.

Early Years

Born in Haifa, Israel, since Reiter was a young boy he followed his father who is a classical guitar player and an acoustic guitar collector to this day, both him and his father were playing together the guitar and this was his gateway to the love of music. During the years Reiter was inspired by the sounds of synthesizers and the connection to the electronic music was inevitable, Reiter started making music in his parents house at the age of 16 on his computer with Impulse Tracker.

Music

Mixing/Sound Production/Engineering

During the years Reiter have been producing huge amount of musicians, working with them tremendous amount of hours in his studio, sometime he had to teach those musicians the foundation of sound. Here are some of the artists and the albums which Reiter produced.

Ozora

Ozora is a village in Tolna County, Hungary. It has been notable since the Middle Ages, when Pipo of Ozora built a castle at this site by permission of Sigismund of Hungary in 1416. Arthur Görgei won an important victory at the Battle of Ozora during the 1848 Revolution in this area.

O.Z.O.R.A. Festival

In recent times it has become famous for the O.Z.O.R.A. psychedelic trance festival which has been held on an estate in Ozora near small village Dadpuszta every year since 2004. The first party was called Solipse and took place during the Solar eclipse of August 11, 1999.

The Ozora festival (with Solar United Natives festival) is one of the two big psytrance festivals in Hungary, and is fastest growing psytrance festivals on the world, achieving incredible 60 000 visitors in 2015.

Gallery

Ozorai Pipo vára

Ozorai Pipo vára

See also

References

External links

Chill Out

Chill Out is the third studio album by The KLF, and the first album under the name, released in February 1990. An ambient house concept album, it portrays a mythical night-time journey up the US Gulf Coast from Texas into Louisiana. The album is a continuous composition, in which sampled music (including Elvis Presley, Fleetwood Mac, Acker Bilk and Tuvan throat singers), vocal samples and sound effects are overlaid with original music.

Context

Composition and recording

Chill Out is a single continuous musical piece having many distinctive sections, each of which either segues into or introduces the next. The album as a whole is a progression, with percussion gradually introduced during the second half. The KLF have stated in interviews that the album was recorded in a 44-minute "live" take in their studio, Trancentral, located in the basement of The KLF member Jimmy Cauty's squat in Stockwell, South London. This was a DAT to DAT "live" edit — essentially Chill Out is a "best of" of many hours of collaborative ambient DJ jam sessions that also involved Alex Paterson of The Orb. These took place at both Trancentral and the monthly 'Land of Oz' at London's Heaven nightclub. Said Cauty, "There's no edits on it. Quite a few times we'd get near the end and make a mistake and so we'd have to go all the way back to the beginning and set it all up again". According to Cauty's co-founder of The KLF, Bill Drummond, the album took two days to put together.Record Collector compared The KLF's production method to that of established electronic musicians: "While electronic dinosaurs like Jean Michel Jarre and Klaus Schulze were walling themselves in with banks and banks of synthesizers, computers and electronic gadgetry the KLF were doing the opposite—making a crafted work like Chill Out with the bare necessities of musical survival."

Tech house

Tech house is a subgenre of house music that mixes elements of techno with house. The term tech house developed as a shorthand record store name for a category of electronic dance music that combined musical aspects of techno, such as "rugged basslines" and "steely beats," with the harmonies and grooves of progressive house. The music originally had a clean and minimal production style that was associated with techno from Detroit and the UK. In the mid to late 1990s a scene developed in England around club nights such as The Drop run by Mr.C & Plink Plonk, Heart & Soul, and Wiggle run by Terry Francis and Nathan Coles. Other DJs and artists associated with the sound at that time included Charles Webster, Bushwacka!, Dave Angel, Herbert, Funk D'Void, Ian O'Brien, Derrick Carter, and Stacey Pullen. By the late 90's London nightclub The End, owned by the former Shamen rapper Richard West (Mr C) and Layo Paskin, was considered the home of tech house in the UK. Tech House tracks are typically between 6-10 minutes in length.

Deep house

Deep house is a subgenre of house music that originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music. Deep house tracks generally have a tempo of between 120 and 125 beats per minute. This style of house music can often have an acoustic feeling. The online music store Beatport is credited with driving the popularity of deep house, but also mislabeling a number of artists in the process and giving rise to the future house genre.

Characteristics

Deep house is known for complex melody, use of unrelated chromatic chords underlying most sequences, and a soul, ambient, or lounge vibe to the vocals (if any). In the early compositions (1988–89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals (if vocals are included), slow and concentrated dissonant melodies, and a smooth, stylish, and chic demeanor. The use of women's vocals is more common than male's in deep house tracks. Deep house music rarely reaches a climax, but lingers on as a comfortable, relaxing sound.