S.M.C. is privately hold and 100% free-lance,

(in case of the author (the founder) is paid anyway, one time).

It is not a media agency.

It is not even a kind of company this time.

It is just the expression, of what I am doing,

or what I would do, if there would be a "market for everyone".

S.M.C. is doing totally self-made music production, from the idea,

over composing, song-writing, arrangement, and mixing, to the final mastered version.

It actually had been founded in 2010 as "Steinigeweg Medien" for the first time.

But only for a very short time, because of the extraordanery circumstances,

such as massive it-attacs or other technical attacs against it,

or against me, that had made it "impossible" for that time,

so it unfortunately must had been closed again.

It started from about the later 70s onwards, that Markus, born March 1st, 1977,

the founder of S.M.C. - Service, Media, Consulting,

had composed music by dreaming the music, or singing,

and then also with music instruments like the xylophon, flutes, a pan-flute, a piano,

drums and more (someone may have recorded something somehow all the time).

He was often dreaming and thinking of music and rythm. In the late 70s, there was a playtoy, a "Jojo".

He was playing with this Jojo, and he was thinking of giving it a new rythm style,

because it just was going up and down, and up and down. So he tried to put steps in between it,

before it will go totally up again. So he tried, after it was down, to let it go just a little up,

then down, and then totally up again.

This new created rythm, and this new rythm feel, was the true beginning of this new rythm style.

When trying to give it a name, he thought in a kind of globally way, and of course always did vocabulary

synthesises, often giving this a unique name, which could be thought globally on the one hand,

and be very intimate on the other hand, such final "mixtures" of word or name results

had always made it then hard to reconstruct its true native origins.

When I was a child in the 80s, I also was playing on a drum from Africa,

that a special friend of us from the "Elfenbeinkueste" had given to us as a present.

I always never know, what people could still be alive today, and since about 2011,

people said, this guy has already died, or this one had died then,

and then about these people it was said the same, and so on.

But if they are not from Europe, or not from this "EU", or from the USA, too (?),

or maybe from China as well (?) , they may could all still be alive,

no one really had talked about them ;) .

And I am, really, not counting all the other ones,

may being humanoid duplicates from then on, that were "presented".

And I guess, it already had begun with these horses in about 2009.

If someone would understand, or even could have the knowledge about this,

what I am talking about.

Or if they are just a digital transformed projection to the head, since 2010,

in their world of electromagnetic fields, or whatever. Its crazy, but its true.

And I know, what I am talking about here, even if no one could understand this,

but their programmers could ;) . And I do not talk more about this here anymore,

to preserve the athmosphere a little bit, which we actually had used to love so much, before.

And it is actually no fun for me to talk about this at all,

but we could figure out the market a little bit like this, as well.

From where could we know anything, indeed? The last time, I was to New York, was in 1994.

And the only as "real confirmed" pictures, which are in my mind about this, were from that time.

It was a dark brown drum, about 50cm to a meter in size, with an artistic relief on it.

It had a small diameter, and it was tall enough,

that a child, that I was, could play on, when standing, and it was small enough,

that I could lay it down between my legs, when sitting on the floor.

I tried out different ways of drumming, and I had used my hands back and fore,

and my fingers, in every way, that I had imagined.

And I was drumming my own drum styles, and rythms, that I had experimented with.

There was a time, when I, before, or after homework for school,

just took a pencil, and then tried it out as a drum stick on different

objects, including the desk, to discover different sounds and rhythmic styles.

And even later, there was a time, when, after break-up,

the first thing I did, was doing compositional improvisations on a piano,

that I had played on since the early 80`s (including composings).

I also did performances of my music composings on the piano.

I had done performances on the piano at school, or in hotels.

This started in the primary school.

Because I always had my own music in my head,

or also was playing it from time to time on the piano,

and then had to play other songs from sheets of music,

I, in cases like this, in the primary school,

I may had generally no motivation for things like this.

So because of this, and beside the fact, that only I, or that it always seemed, that only I,

myself, may knew of actually being "author of music",

this was to me actually absolutely misplaced,

and it was just embarassing to have to play on the piano in the classroom.

But after the play, the schoolmates had appreciated it with heavy applause,

so that I actually became totally ashamed, and totally redden.

There, one time, at the age of 15,

while playing a melancholic composing on a grand piano,

the audience cried tears heavily, because they had loved it that much!

On the other hand, at school, after a performance of a rap song, I had composed,

the school kids enthusiastically shouted with joy.

And there really seems to be no other way,

but to talk only about these socalled Mega-Hits, or Smash-Hits, anyway.

In the 80s, the founder of S.M.C., for the first time, made music composing,

by just trying out a music midi program on a windows computer,

and the input device, such as a computer mouse (the melodies were kind of funny or freaky).

He always was thinking of new genres in music, or new music styles.

One time he was playing with a Jojo,

and was thinking of a new music style in a rhythmic way (no more to say).

He also was filming with a Super 8 as a hobby.

He, then, one time, also tried to play a computer data CD on his Yamaha Hifi,

just to know the effect, and what noise it would make.

But, what he then heard, he could not expect.

There were a kind of crunchy and noisy tech pieces,

something, he never had heard before.

And then, I said "This is Techno", actually I said something like "Tech-No".

Unfortunately the Hifi was not usable anymore, and could not be repaired.

From the 90s on, he started to make music more, and more "professional",

and he also started to make music recordings.

Then, after absolving the final examination at gymnasium,

he started to study media production himself, first, 2D productions,

for presentations and promotions, and a short time later,

3D computer graphics and animation.

He improved his skills, techniques, production methods, and workflows,

combined together in a unique way, until 2011, were it first ended,

beside actually being a student of architecture at a technical university.

And the music archives of the S.M.C. music studios in whole contain

several hundreds songs, or song/melody Composings, including potentially so-called

Hit, or Super-Hit, or Mega-Hit material, recorded in raw format, or produced.

This estimation is done with the knowledge and experience of over 45 years in music history.

Beside of this, S.M.C. does not give any guarantee for profit of its content.

If you love the music, if you feel free, you don't need a guarantee!

There was an unimaginable workload behind the whole stuff.

S.M.C. cannot tolerate any copyright violation against it.

S.M.C. has, in total, actually experience in professional media production since over 25 years.

Best Wishes!

Markus Steinigeweg

(The founder and owner of S.M.C. - Service, Media, Consulting)

05/25/2022 (last updated on 02/01/2024)

This is a brief impression of the formerly "All in One" Studio (from about 1998 to February 2012).