24/10: Keeping in touch
I’ve been a slacker with this whole blog thing, thinking that everything I write has to be so interesting that everyone will ooh and aah. But heck, that stuff doesn’t happen every week and I want to keep you folks informed of all of the fun and work I/we do here at the studio and away on gigs.
Over the summer I have been working with a crazy-talented singer/songwriter Colter Wilson.
He is in the process of recording a full length self produced, self released, self distributed project, which for a 20 year old fella is rather ambitious. He is going to be out-sourcing most of the rhythm section to some well respected Nashville, New York and California players. In fact, I might as well add some well respected Idaho Falls players to that list.
We had the pleasure of having Tim Machira of Lystra’s Silence fame come and track drums for three of the tunes. Wow what a great reggae feel. Craig Green will also be adding some of his sonic treatments to the record. He (Craig) is also is writing string and brass scores to be added next spring when Colter returns from Colorado to finish the project.
It just dawned on me that some of you are probably recording “studio rats” like myself and would be interested in some of the mic’ing techniques and process used for sessions? If this is the case email me at recording@wormwoodsound.com and I will start doing just that in these little journal entries. Anyone game?
Over the summer I have been working with a crazy-talented singer/songwriter Colter Wilson.
He is in the process of recording a full length self produced, self released, self distributed project, which for a 20 year old fella is rather ambitious. He is going to be out-sourcing most of the rhythm section to some well respected Nashville, New York and California players. In fact, I might as well add some well respected Idaho Falls players to that list.
We had the pleasure of having Tim Machira of Lystra’s Silence fame come and track drums for three of the tunes. Wow what a great reggae feel. Craig Green will also be adding some of his sonic treatments to the record. He (Craig) is also is writing string and brass scores to be added next spring when Colter returns from Colorado to finish the project.
It just dawned on me that some of you are probably recording “studio rats” like myself and would be interested in some of the mic’ing techniques and process used for sessions? If this is the case email me at recording@wormwoodsound.com and I will start doing just that in these little journal entries. Anyone game?
26/07: Sunny Bingo
Sunny Bingo!
This Blog is going to begin with a little story.
Once upon a time, way back in 1957, a teen age boy named John Winston Lennon was in a Skiffle band called “the Quarrymen”. This band was scheduled to play at a local church event. One of the members of the band had a friend that he invited to come see them play music. This friend watched and listened and became very excited about what he was witnessing. This friend decided to meet and talk with the leader of this band on their break. After introducing himself, “Hi, my name is Paul McCartney.” This lad struck up a great conversation with John Winston Lennon, and at one point showed John how to correctly tune his guitar. After impressing the older boy with his knowledge of guitar tuning, Paul then picked up a bass guitar (it was a right handed guitar and Paul of course is left handed) then played and sang a song at a tempo that was off of the charts. This amazed and excited the band leading boy to the point of asking Paul to join his band. The rest is, as they say, history.
The song that Paul McCartney played for John Lennon 50 years ago was “20 Floor Rock” written by a Ned Fairchild. Ned Fairchild is not the real name of the person who wrote the tune. Ned Fairchild is the pen name of a lady named Sunny Bingo. Sunny Bingo had to hide behind the name Ned Fairchild because in the 1950’s women were not allowed to do cool things like write hit songs.
This is the real cool part so keep reading…
With the legendary meeting at its 50 year anniversary a local documentary group wanted to, well, document all of this great information. One of the facets of this process is to have Sunny Bingo perform the song and then interview.
Here’s where it gets really cool…
The Documentary group chose Wormwood Sound to both house the process and to record the performance. That’s right yesterday, July 25th 2007 Sunny Bingo graced our humble recording facility. What an experience! I can’t even begin to explain my feelings about the Beatles. The first time the producer told me the story I was over-run with goose bumps, and every time I get the chance to retell the story I am again over-run with goose bumps.
Sunny is 80-something and a gracious woman with a great glint of fire in her eyes. I am honored and blessed with this opportunity to meet her, but then it is exponentially magnified by the opportunity to record her singing “the song”.
The documentary is going to be picked up by PBS and then submitted to the Smithsonian and the Rock n Roll hall of fame. Look for it mid ’08, you may even see my “cat that ate the canary” grin.
Happy as a clam
Joel
This Blog is going to begin with a little story.
Once upon a time, way back in 1957, a teen age boy named John Winston Lennon was in a Skiffle band called “the Quarrymen”. This band was scheduled to play at a local church event. One of the members of the band had a friend that he invited to come see them play music. This friend watched and listened and became very excited about what he was witnessing. This friend decided to meet and talk with the leader of this band on their break. After introducing himself, “Hi, my name is Paul McCartney.” This lad struck up a great conversation with John Winston Lennon, and at one point showed John how to correctly tune his guitar. After impressing the older boy with his knowledge of guitar tuning, Paul then picked up a bass guitar (it was a right handed guitar and Paul of course is left handed) then played and sang a song at a tempo that was off of the charts. This amazed and excited the band leading boy to the point of asking Paul to join his band. The rest is, as they say, history.
The song that Paul McCartney played for John Lennon 50 years ago was “20 Floor Rock” written by a Ned Fairchild. Ned Fairchild is not the real name of the person who wrote the tune. Ned Fairchild is the pen name of a lady named Sunny Bingo. Sunny Bingo had to hide behind the name Ned Fairchild because in the 1950’s women were not allowed to do cool things like write hit songs.
This is the real cool part so keep reading…
With the legendary meeting at its 50 year anniversary a local documentary group wanted to, well, document all of this great information. One of the facets of this process is to have Sunny Bingo perform the song and then interview.
Here’s where it gets really cool…
The Documentary group chose Wormwood Sound to both house the process and to record the performance. That’s right yesterday, July 25th 2007 Sunny Bingo graced our humble recording facility. What an experience! I can’t even begin to explain my feelings about the Beatles. The first time the producer told me the story I was over-run with goose bumps, and every time I get the chance to retell the story I am again over-run with goose bumps.
Sunny is 80-something and a gracious woman with a great glint of fire in her eyes. I am honored and blessed with this opportunity to meet her, but then it is exponentially magnified by the opportunity to record her singing “the song”.
The documentary is going to be picked up by PBS and then submitted to the Smithsonian and the Rock n Roll hall of fame. Look for it mid ’08, you may even see my “cat that ate the canary” grin.
Happy as a clam
Joel
11/06: A New Insight
Howdy Ladies and gents. In this blog I'm going to relay my thoughts on the significance of our surroundings for musical inspiration. Many people say that to write good music you only have to be one of three things?in love, in hate, or depressed. In my opinion this is an acute glimpse of a much broader picture. I believe that our geographic, mental, physical, and intangible surroundings all have huge impact on our conscious and unconscious thoughts that dictate the music we make, Geographic being our natural surroundings in the world, Mental being our exposure to the people around us; and the mind altering events to which we are exposed, physical being man made surroundings we encounter, intangible being anything of a spiritual nature.
This helps explain the vast variety of music in the world. Taking these things into consideration it seems perfectly logical that blues would thrive in harsh industrial cities such as Detroit, Memphis, and Chicago. I bet the terms: the blues, and Blue Collar, don't match by accident. These conditions contribute to music styles all over the world. The relaxed attitude of Hawaiian steel guitar, and ukulele match with it's paradise like surroundings. Rainy Seattle is famous for its melancholy grunge music. Inner city hip hop in many large cities reflects the violent intent of gangsters and drug dealers. Many ethereal ambient styled musicians come out of serene Iceland.
In my experience my surroundings have a massive impact on whether I can even create music at all. I spent time in New Mexico in the canyons where I had an overflow of musical inspiration. Also living in stressful situations has driven my creative flow. Everyone draws inspiration from different things. The trick is tapping into the environment that inspires you. Not everyone has the opportunity to spend time to see the world. But if you are serious about being a full time musician I highly recommend it. Who knows what might inspire you in this world. There are endless things that we can't possibly imagine without experiencing first hand.
On a slightly different plain now taking in music is hugely inspiring. We would never be where we are musically today without the knowledge of our predecessors. I've often thought about the best way to take in music. There are scientifically documented cases of blind people developing a heightened sense of hearing. The loss of any sense is compensated by the others. Now I'm not saying we are a nation full of A.D.D. but in my opinion sight is the most distracting sense we have. There are just way to many things to look at which in turn draw attention. Sight can aid music in the case of going to concerts and seeing the lights that lend energy to the music. But in my opinion the best way to take in music is to close our eyes. I find the music lends meaning to my thought when I have nothing to see.
If you have something to add to this subject, Please shed your light.
Even if you disagree. This is my humble opinion
Jesse Mortensen
This helps explain the vast variety of music in the world. Taking these things into consideration it seems perfectly logical that blues would thrive in harsh industrial cities such as Detroit, Memphis, and Chicago. I bet the terms: the blues, and Blue Collar, don't match by accident. These conditions contribute to music styles all over the world. The relaxed attitude of Hawaiian steel guitar, and ukulele match with it's paradise like surroundings. Rainy Seattle is famous for its melancholy grunge music. Inner city hip hop in many large cities reflects the violent intent of gangsters and drug dealers. Many ethereal ambient styled musicians come out of serene Iceland.
In my experience my surroundings have a massive impact on whether I can even create music at all. I spent time in New Mexico in the canyons where I had an overflow of musical inspiration. Also living in stressful situations has driven my creative flow. Everyone draws inspiration from different things. The trick is tapping into the environment that inspires you. Not everyone has the opportunity to spend time to see the world. But if you are serious about being a full time musician I highly recommend it. Who knows what might inspire you in this world. There are endless things that we can't possibly imagine without experiencing first hand.
On a slightly different plain now taking in music is hugely inspiring. We would never be where we are musically today without the knowledge of our predecessors. I've often thought about the best way to take in music. There are scientifically documented cases of blind people developing a heightened sense of hearing. The loss of any sense is compensated by the others. Now I'm not saying we are a nation full of A.D.D. but in my opinion sight is the most distracting sense we have. There are just way to many things to look at which in turn draw attention. Sight can aid music in the case of going to concerts and seeing the lights that lend energy to the music. But in my opinion the best way to take in music is to close our eyes. I find the music lends meaning to my thought when I have nothing to see.
If you have something to add to this subject, Please shed your light.
Even if you disagree. This is my humble opinion
Jesse Mortensen
17/05: The Smiley Face
Have you ever wondered why Equalizers were made, if all people do with them is make a 'Smiley Face' with the sliders? That's correct, I'm here to tell you that they are not there for decoration, and if used properly, the design isn't generally a symmetrical one. These wonderful devices are there to make our world sound better!!
To start off, let me say that when a CD is mastered and sent off to the stores, they are made to sound their best in a tonally neutral space. Meaning that there are no frequencies that are more dominant the others. These EQ's (Equalizers) can range from a 2 band (High and Low) to a 31 Band (Most common in professional application) ranging from as low as 20Hz up to 20kHz. This is about the range of what we can actually hear. 20Hz is so low that you can really only feel the tones down there. 20kHz is so high that most people can't even hear it, like being able to walk into a room and hear that a television is on, when the Speakers are muted so that all you can hear is the sound of the screen. (No, I'm not on crack, I know that there are other people who can hear that! It's not just me.) Anyway, my point is, that in an optimal room, you would not need an EQ. But since I'm sure that you are most likely not sitting in that room when you are listening to your stereo, this is where the purpose of the EQ come into play.
Now... I would suggest playing with the EQ to get familiar with how they work. Set all of the fequencies to 0 (usually center) so that you are not actually affecting the sound at all. Then, playing a CD through the system, go through each of the sliders, individually, and raise them all the way up and all the way down to hear how this affects the tone. Once you have gone through all of them, you will hear that some of them get rather annoying when you turn them up or are really missing something when they are turned down. Once you have played with this, get everything back to 0 (Center) and find the frequencies that need to be brought down to make the tone of your music more pleasing. It could be only one tone stands out, it could be that groups of tones stand out. But know that you may only need to take a little bit out of one tone (Just move the slider down slightly) while others may need a lot taken out of them. You shouldn't need to pull anything completely out. Rarely will you need to actually boost (Move the slider up) any frequencies, but use that function to find the frequency that you are looking to take out.
So, I know for some of you, this is very basic, but for MANY i know that this is completely new. there may have been a fleeting thought about an EQ's purpose, but you didn't know that there was this much involved in using one. I will extend the invitation, again, that if any of you have any questions at all on anything we talk about here, or maybe haven't talked about yet, please feel free to email us. Joel and I are always happy to teach others what we know. We have found that the more we teach others, the more we learn.
Thanks for stopping by.
Billy
Email us at recording@wormwoodsound.com
To start off, let me say that when a CD is mastered and sent off to the stores, they are made to sound their best in a tonally neutral space. Meaning that there are no frequencies that are more dominant the others. These EQ's (Equalizers) can range from a 2 band (High and Low) to a 31 Band (Most common in professional application) ranging from as low as 20Hz up to 20kHz. This is about the range of what we can actually hear. 20Hz is so low that you can really only feel the tones down there. 20kHz is so high that most people can't even hear it, like being able to walk into a room and hear that a television is on, when the Speakers are muted so that all you can hear is the sound of the screen. (No, I'm not on crack, I know that there are other people who can hear that! It's not just me.) Anyway, my point is, that in an optimal room, you would not need an EQ. But since I'm sure that you are most likely not sitting in that room when you are listening to your stereo, this is where the purpose of the EQ come into play.
Now... I would suggest playing with the EQ to get familiar with how they work. Set all of the fequencies to 0 (usually center) so that you are not actually affecting the sound at all. Then, playing a CD through the system, go through each of the sliders, individually, and raise them all the way up and all the way down to hear how this affects the tone. Once you have gone through all of them, you will hear that some of them get rather annoying when you turn them up or are really missing something when they are turned down. Once you have played with this, get everything back to 0 (Center) and find the frequencies that need to be brought down to make the tone of your music more pleasing. It could be only one tone stands out, it could be that groups of tones stand out. But know that you may only need to take a little bit out of one tone (Just move the slider down slightly) while others may need a lot taken out of them. You shouldn't need to pull anything completely out. Rarely will you need to actually boost (Move the slider up) any frequencies, but use that function to find the frequency that you are looking to take out.
So, I know for some of you, this is very basic, but for MANY i know that this is completely new. there may have been a fleeting thought about an EQ's purpose, but you didn't know that there was this much involved in using one. I will extend the invitation, again, that if any of you have any questions at all on anything we talk about here, or maybe haven't talked about yet, please feel free to email us. Joel and I are always happy to teach others what we know. We have found that the more we teach others, the more we learn.
Thanks for stopping by.
Billy
Email us at recording@wormwoodsound.com
29/04: Baton Passing
Life, in its winding journey, can most of the time be brashly sequential, if you're open to the patterns. Sounds like philosophical blah-blah, but I was hoping that you would be able to make it through the advertisements and enjoy the main feature. Yup more drivel.
There is a point to this, believe me. And here it is.
One of my gigs at this point in life is as the sound guy for the city that I live near. Usually an interesting gig, we get a vast diversity of events in the auditorium. This particular pair of weeks was a local production of the opera "Carman". As a great fan of muzick and its many derivatives I listen to the whole gamut. In my collection I have everything from Tchaikovsky to Slayer and on some level I can appreciate all of them.
Then, in walks opera...
I can appreciate the artistic value of the stuff, but I cannot get into the aesthetic of it.
OK, here is where everything ties together... I’m not just going to rant about not understanding opera’s existence…
After contending with, and being subjected to this theatrical "art" form, I was at least able to grasp the technical needs of this screaming child so it can be reproduced and reinforced.
And it's a good thing...
Because no sooner did the one opera leave my head, than another one entered.
And this one came to the studio. A local college student was in need of a demo reel in order to qualify for the classes and scholarships she needed. At that point I was thanking my lucky stars. To properly commit her talent to recording medium I would have figured out eventually, but having the immediate experiences was huge. I was able to be more confident in the decision process, which in turn gave the client the confidence that I knew what the heck I was doing and that the monies that they were paying were well worth paying.
Get it? I figured you would, this a sharp crowd that visits and reads.
But if you're new here...
The moral is...Not about singing my praises, not in the least
If life deals you a screaming child early in the game, you'll know how to make the ones later in life happier quicker and therefore quiet quicker...
Enjoying the silence of The Shins, Mr. Marley, et al,
Joel la Worm
There is a point to this, believe me. And here it is.
One of my gigs at this point in life is as the sound guy for the city that I live near. Usually an interesting gig, we get a vast diversity of events in the auditorium. This particular pair of weeks was a local production of the opera "Carman". As a great fan of muzick and its many derivatives I listen to the whole gamut. In my collection I have everything from Tchaikovsky to Slayer and on some level I can appreciate all of them.
Then, in walks opera...
I can appreciate the artistic value of the stuff, but I cannot get into the aesthetic of it.
OK, here is where everything ties together... I’m not just going to rant about not understanding opera’s existence…
After contending with, and being subjected to this theatrical "art" form, I was at least able to grasp the technical needs of this screaming child so it can be reproduced and reinforced.
And it's a good thing...
Because no sooner did the one opera leave my head, than another one entered.
And this one came to the studio. A local college student was in need of a demo reel in order to qualify for the classes and scholarships she needed. At that point I was thanking my lucky stars. To properly commit her talent to recording medium I would have figured out eventually, but having the immediate experiences was huge. I was able to be more confident in the decision process, which in turn gave the client the confidence that I knew what the heck I was doing and that the monies that they were paying were well worth paying.
Get it? I figured you would, this a sharp crowd that visits and reads.
But if you're new here...
The moral is...Not about singing my praises, not in the least
If life deals you a screaming child early in the game, you'll know how to make the ones later in life happier quicker and therefore quiet quicker...
Enjoying the silence of The Shins, Mr. Marley, et al,
Joel la Worm
18/04: Cold weather, AGAIN!!
What is with this Weather?!?! Oh yeah, we live in Idaho. We were enjoying some nice Spring-Time temperatures, and then, BAM!, a bold reminder that Idaho isn't allowed to be warm until mid-June. Anyway... with that being said, it brings a musical point that some of you may be unaware of, so I will use the weather to bring out the point.
Plain and simple, 'Temperature directly affects sound'.
I am sure that most of you are aware that it affects tension in strings, drum heads, and many other parts of your instruments, but there is more to it than that. Not that I profess to be an expert on physics, but here is a quick lesson on a small part of it. Sound travels in waves. A wave will travel more easily through material that is less dense than it will through a denser material. Take water, for example, when you make a wave in a lake. The wave travels fairly fluidly through open water, until it hits some growth in the water, then the wave starts to get weaker. It is hitting denser materials, which slow it down. Then it hits the shore, which is VERY solid, so the wave is stopped by the dense material.
Now, to how that applies to sound. When air is colder, it moves slower and becomes more dense. The fluctuation of a few degrees is not going to be noticeable to us in our breathing, but it makes difference in the sound. If any of you have ever mixed sound for a live performance, you may have noticed that if you 'Sound-Check' in the morning, and then have a show in the afternoon, you get feedback that you didn't have when it was cooler. Sound travels more freely in the warmer temperatures. Especially in the higher frequencies.
I may, or may not, have all of my facts straight on this, so please look this up and study it for yourself. If there is something that I didn't get quite right here, please let me know. This is just what I have learned from doing a lot of work with sound.
Thanks, all!!
Talk to you again soon,
Billy
Plain and simple, 'Temperature directly affects sound'.
I am sure that most of you are aware that it affects tension in strings, drum heads, and many other parts of your instruments, but there is more to it than that. Not that I profess to be an expert on physics, but here is a quick lesson on a small part of it. Sound travels in waves. A wave will travel more easily through material that is less dense than it will through a denser material. Take water, for example, when you make a wave in a lake. The wave travels fairly fluidly through open water, until it hits some growth in the water, then the wave starts to get weaker. It is hitting denser materials, which slow it down. Then it hits the shore, which is VERY solid, so the wave is stopped by the dense material.
Now, to how that applies to sound. When air is colder, it moves slower and becomes more dense. The fluctuation of a few degrees is not going to be noticeable to us in our breathing, but it makes difference in the sound. If any of you have ever mixed sound for a live performance, you may have noticed that if you 'Sound-Check' in the morning, and then have a show in the afternoon, you get feedback that you didn't have when it was cooler. Sound travels more freely in the warmer temperatures. Especially in the higher frequencies.
I may, or may not, have all of my facts straight on this, so please look this up and study it for yourself. If there is something that I didn't get quite right here, please let me know. This is just what I have learned from doing a lot of work with sound.
Thanks, all!!
Talk to you again soon,
Billy
02/04: Write it Down!
Sorry I haven't written for a while. We have been keeping busy lately. One of the things that has kept us busy these past few weeks is some minor construction in the studio. We are determined to make our studio a place of comfort for all who enter, as well as a creatively stimulating environment. For those of you who have been into our abode, you have an idea of how we are trying to accomplish this. Our design and color scheme has been well thought out, and we have been known to completely change direction, mid-stream, because something isn't working for us. We don't claim to be perfect, nor do we believe there is only one right way to do things. We are very experimental. NOW HOLD ON A MINUTE!!!! Don't take that to mean that we are opposed to do things in a traditional format. Many times we find that there is a traditional way of doing things for a reason.... because it works!! We have experimented with baffling our 'Live Room' differently, until we get the sound we are looking for in the room. We have spent a lot of time working on the 'Control Room' so that it sounds better and is more accommodating for those who dwell within. Not only is this more professional, but it makes for a much more comfortable environment for recording, reviewing and editing.
Now, I know that different things stimulate different people at different times. Personally, I almost always have a song, melody, or maybe even just a rhythm in my head. I think that is the way with many musicians. The challenges are to give those songs, melodies, and rhythms life, and remembering them later. Often, yes, these are tunes that have already been given life, and someone else has recorded them, but there are originals in the mix, as well, and I am really bad at writing things down, so many are lost. I have found songs in the rhythm of my tires on the road while I'm traveling. Next time you are diving around, try doing it with the radio off. I don't care if it is in town or in the country. Stopped at a traffic light, or moving down the interstate. There is a rhythm there if you listen for it. You may even find a melody. Maybe you aren't traveling, it doesn't matter. All I am suggesting is to remove all 'intentional' stimuli. Meaning, if you have control over it, like a radio, television, etc., turn it off. If you hear nothing by doing this, open a window. Step outside. Maybe your own heartbeat is enough. Maybe you need the extra stimuli. Maybe there is a song that comes on the radio that gives you an idea for something else. Whatever it is... WRITE IT DOWN, RECORD IT, Whatever you need to do to remember it, DO IT!!
I know it seems as though I'm rambling now, but what I am trying to do is help you find your next project. Maybe you don't need the help right now, and this message isn't for you. If that is the case, maybe you can tell me what stimulates you, and that, in turn, can help someone else find their project. Feel free to share. I hope this can help at least one person find a new song. Even if it isn't the next big hit, at least it will be the birth of a new song!!
Best of Luck to you!
Billy Willis
Now, I know that different things stimulate different people at different times. Personally, I almost always have a song, melody, or maybe even just a rhythm in my head. I think that is the way with many musicians. The challenges are to give those songs, melodies, and rhythms life, and remembering them later. Often, yes, these are tunes that have already been given life, and someone else has recorded them, but there are originals in the mix, as well, and I am really bad at writing things down, so many are lost. I have found songs in the rhythm of my tires on the road while I'm traveling. Next time you are diving around, try doing it with the radio off. I don't care if it is in town or in the country. Stopped at a traffic light, or moving down the interstate. There is a rhythm there if you listen for it. You may even find a melody. Maybe you aren't traveling, it doesn't matter. All I am suggesting is to remove all 'intentional' stimuli. Meaning, if you have control over it, like a radio, television, etc., turn it off. If you hear nothing by doing this, open a window. Step outside. Maybe your own heartbeat is enough. Maybe you need the extra stimuli. Maybe there is a song that comes on the radio that gives you an idea for something else. Whatever it is... WRITE IT DOWN, RECORD IT, Whatever you need to do to remember it, DO IT!!
I know it seems as though I'm rambling now, but what I am trying to do is help you find your next project. Maybe you don't need the help right now, and this message isn't for you. If that is the case, maybe you can tell me what stimulates you, and that, in turn, can help someone else find their project. Feel free to share. I hope this can help at least one person find a new song. Even if it isn't the next big hit, at least it will be the birth of a new song!!
Best of Luck to you!
Billy Willis
01/03: A Call to Arms
The World Wide Web, hhhhmmmm. With the advent of this networking protocol our great big, huge planet has become exponentially smaller. We can access just about any information with just a few right words and a few clicks of a mouse device. (but, you all know this already) As a result of this our villages are expanding, our communities are growing. Birds of a feather don’t have to be in the same quadrant of the sky to flock together. This is what we are hoping is going to happen with us as the hub.
I’ll explain. When I moved from Seattle here to Idaho Falls a few years ago I saw something happening. Happenings are happening all around the region all of the time, but not everyone knows about them. Also, I saw/see oodles of talented folks all around, but in pockets. I want for these people to find each other. It sounds sappy but it’s true.
Remember back two paragraphs when I wrote about the access to information? One of the groups of information that we have the ability to track is, who is coming and going from this blog page. Where they came from, what ISP server they are on, etc, etc… The one bit information that floors me is the number 500. 500 is the number of people who came to our little blog page the last two weeks. Holy May-Bells! That is a great number! The number that kind of bums me out is 2. 2 is the number of people who logged in and posted comments. Now, I’m not reprimanding anyone. I’m just curious as to what we can do to get the proverbial ball rolling.
Anyone? Anyone? Bueller?
Anyone want to be on a regionally distributed Compilation?
One great thought (we think) we have is to do a series of genre based compilations. We want to get a whole slew of muzick that is in or around the same style and package it a get it into the bins at music stores. In the packaging would list the bands and their contact information. We see this as a cool muzickal business card. What do you think? We are getting a radio station or two to get behind the concept, which will stretch the reach of the arm…
Another concept we are pondering is the idea of having workshops on various elementary audio and recording subjects. And before we expend the time or gray matter energy on developing a curriculum we need to know the response and enthusiasm of such an event or chain of events. What subjects would you like to learn about? I have a degree in the stuff and had a great time while in school tutoring. And would really dig being able to spread the fire…
Tell us what you think
Until next week,
Joel Worm
I’ll explain. When I moved from Seattle here to Idaho Falls a few years ago I saw something happening. Happenings are happening all around the region all of the time, but not everyone knows about them. Also, I saw/see oodles of talented folks all around, but in pockets. I want for these people to find each other. It sounds sappy but it’s true.
Remember back two paragraphs when I wrote about the access to information? One of the groups of information that we have the ability to track is, who is coming and going from this blog page. Where they came from, what ISP server they are on, etc, etc… The one bit information that floors me is the number 500. 500 is the number of people who came to our little blog page the last two weeks. Holy May-Bells! That is a great number! The number that kind of bums me out is 2. 2 is the number of people who logged in and posted comments. Now, I’m not reprimanding anyone. I’m just curious as to what we can do to get the proverbial ball rolling.
Anyone? Anyone? Bueller?
Anyone want to be on a regionally distributed Compilation?
One great thought (we think) we have is to do a series of genre based compilations. We want to get a whole slew of muzick that is in or around the same style and package it a get it into the bins at music stores. In the packaging would list the bands and their contact information. We see this as a cool muzickal business card. What do you think? We are getting a radio station or two to get behind the concept, which will stretch the reach of the arm…
Another concept we are pondering is the idea of having workshops on various elementary audio and recording subjects. And before we expend the time or gray matter energy on developing a curriculum we need to know the response and enthusiasm of such an event or chain of events. What subjects would you like to learn about? I have a degree in the stuff and had a great time while in school tutoring. And would really dig being able to spread the fire…
Tell us what you think
Until next week,
Joel Worm
21/02: Reader thoughts
OK, Folks.... I need your input....
I need you all to go to our 'Contact us' page and give me your opinions on the pictures... =)
http://wormwoodsound.com/Contactus.htm
Granted, my picture is of me, and that can be scary in it's own right... but I'm telling Joel that his picture scares women and children (and men with weak stomachs). I haven't figured out what to compare it to yet, but maybe it's just me... I would like to hear your thoughts on this. Please help me get him to change this to a real photo of himself.
Thanks!!
Billy
I need you all to go to our 'Contact us' page and give me your opinions on the pictures... =)
http://wormwoodsound.com/Contactus.htm
Granted, my picture is of me, and that can be scary in it's own right... but I'm telling Joel that his picture scares women and children (and men with weak stomachs). I haven't figured out what to compare it to yet, but maybe it's just me... I would like to hear your thoughts on this. Please help me get him to change this to a real photo of himself.
Thanks!!
Billy
13/02: Jam Session
At least once a month the AMA (Acoustic Musician's Association) of Idaho Falls has a Jam session with Site's Violin Shop, which is attached to our facility. This last Saturday, I attended one of these sessions, and was very excited to see the diversity!! I sat down with my guitar to play along with about 30 other musicians. There were a few Violin students of the Sites', as well as seasoned Violin players. The ages ranged from about 5 years old to about 70 years young. (I didn't stop to ask for specifics, but you get the picture.) There were Guitars, Mandolins, Banjos, Basses, Accordian, Piano, Lap Steel, and a flute of some sort. Besides the people involved in playing, there were a number of spectators who were there to either just enjoy the music, or trying to get the courage to join in the playing.
All are encouraged to play, regardless of skill level. everyone who wanted to was allowed a solo during every song, or you could just play rhythm (as I did) along with everyone else. Everyone was given an opportunity to pick a song to play. Most of what was played for the short time that I attended was bluegrass or waltz fiddle music, but they encourage you to contribute with whatever style you would like to play. They are all there to learn from everyone else and have a good time. It was really hard for me to tell though..... who was having a better time? The kids or the adults?
For more info on these Jam Sessions, and the AMA in general, please visit them at http://www.acoustic-music-association.org/.
All are encouraged to play, regardless of skill level. everyone who wanted to was allowed a solo during every song, or you could just play rhythm (as I did) along with everyone else. Everyone was given an opportunity to pick a song to play. Most of what was played for the short time that I attended was bluegrass or waltz fiddle music, but they encourage you to contribute with whatever style you would like to play. They are all there to learn from everyone else and have a good time. It was really hard for me to tell though..... who was having a better time? The kids or the adults?
For more info on these Jam Sessions, and the AMA in general, please visit them at http://www.acoustic-music-association.org/.
