Hindugrass will be recording next week, and they are kicking off their session with a performance on Friday night, April 12th at 8pm. If you have always wanted to be a fly on the wall of a real recording session, the band is inviting a very limited number of people to be their guests in the studio via this Eventbrite link.
Why perform before recording? Béla Fleck answers that question in this video from last year:
We live in a paradoxical age: believe nothing unless you have seen it, yet trust outside experts more than the leaders of one’s own community. All my life I have heard the quote “nobody is a hero in their home town” only to discover it’s a paraphrase of a verse from the Gospel of Luke, where Jesus says “Truly I tell you, no prophet is accepted in their own hometown.” Doubtless Plato complained about the same problem hundreds of years earlier. I believe this is due to our tendency to confuse the familiar with the ordinary. Since moving to Chapel Hill and becoming familiar with many of the great people in the region, I have come to appreciate just how extraordinary so many of them are. Including those with a musical inclination.
That is not to say that we don’t appreciate talent from other states or countries. As a board member of Carolina Performing Arts, I’m rightfully proud of the world-class roster of international talents that perform at Memorial Hall each academic year. But the greatness that comes from afar does not preclude the possibility of greatness living amongst us as well. The INDY week article is a great case in point. Yes, it may seem like bragging to use my own studio as an example of a world-class music and post-production facility in our community, but it’s true. Equally true, and perhaps more important because of the network effect, is that the local community is able to come together and celebrate that fact. Today, artists both local and global are willing to give us the nod over more established facilities in Nashville, New York, Los Angeles, and even London, which is now leading to greater opportunities for all in our growing community. That is wonderful!
When I decided to leave the certainty of multiple steady paychecks to start a new company, everybody I briefed thought there was no possible way it could succeed, and that gave me the confidence that I’d have no competition. The rest, as they say is history. But since that time, I have also come to appreciate that sometimes it is more valuable to have at least some competition proving that the business idea has at least some merit. Some percentage of a provable market is worth more than 100% of a market that simply does not exist. Enter GrooveBox Studios.
GrooveBox Studios was born of a frustration that is nearly universal among all artists I’ve encountered: bands spend too much of their own money on projects and tours that generally enrich everybody else before the band earns a dollar. Which is not sustainable. The founders of GrooveBox Studios hit the business reset button and came up with a model that is really quite analogous to what we, too derived: the co-production model. For starters, both GrooveBox and The Miraverse® promote the idea that instead of being an up-front cost that the artist must bear, the recording process is something that delivers cash and profit directly to the artist, up-front. (more…)
When an artist makes a recording at a studio, there is always a coincidence–two things happening at the same time and place. One is the interpretation and the performance of the artist, the other is the creative capture of that ephemeral performance so that it can be replicated and experienced across time and space, perhaps by people not yet even alive when the recording was made. But the coincidences we shared with pianist Frederic Chiu this past week went far beyond that.
At the Dōjō where I train, the black belts begin every class by saying “Shiken Haramitsu Daikoumyo,” reminding themselves that “every moment is an opportunity for enlightenment.” I have been training for a year, making good progress, and if I keep it up, I might earn my black belt in 3-4 more years. There’s a lot to learn and a lot know, and these Black Belts, who know so much more than I do, are constantly prepared to learn even more.
Earlier this month we hosted Béla Fleck and Brooklyn Rider, high-degree black belts of their respective instruments for sure, and I was struck by not only how much they knew, but how prepared they were–every moment–to receive new enlightenment. Shiken Haramitsu Daikoumyo!!
August is going to be that much hotter in North Carolina when guitar legend Jimmy Herring fires up his guitar rig August 17th-18th at The Miraverse. Jimmy will be teaching master classes each day, and he and his band will be welcoming participants to join in afternoon jam sessions. In the evening, Jimmy and his band will be playing in the amazing Music Room at Manifold Recording. This will provide a unique opportunity to hear one of the finest guitar players in one of the finest studios in the world.
For more information, see Jimmy’s announcement. If you want to reserve a spot for one or both days, or for one or both evening performances, send email to firstname.lastname@example.org
Space is very limited, so if you are interested, let us know ASAP!
He set his mind to work on unknown arts and thereby changes the laws of nature – Ovid, Metamorphoses
Welcome, and thank you for coming to the grand opening of Manifold Recording and The Miraverse! Some years ago Amy posted a little quote on my side of the mirror we share in our bathroom that reads “There will come a time when you believe everything is finished; that will be the beginning.“ After five years of planning and construction, we have realized a dream, a dream that is now so real you can see it, you can touch it, you can enter it. You are welcome to do so-once we cut the ribbon.
Today we want to share with you an even bigger dream, the one that begins today. This dream cannot be built with concrete and steel, but it can be realized the old-fashioned way: with magic.
The artcile Is There an Ecological Unconscious? in the January 31 2010 Sunday New York Times Magazine probes a deep psychological question, examining solastalgia and soliphilia along the way. Both are rooted in the Latin solacium (comfort), but one riffs on nostalgia (which connects to the Greek root –algia (pain or suffering)) and the other is more cogently connected to love and friendship (based on the Greek root philia). The article makes the case that global climate change is not measured merely by tenths of a °C or meters of sea-level rise or even parts-per-million concentrations of atmospheric CO2, but can also by the psychic disturbance of mountain-top removal and the disorders that arise from an increasingly inaccessible natural environment.
Weathervane Music is a non-profit, community supported production company, making music and video to support and advance the careers of amazing independent musicians. Unlike traditional for-profit production or record companies, the vast majority of proceeds from the recordings of this music go straight to the artists, which Weathervane Music selects. I first heard about them when Brian McTear made this announcement in June, and I’ve been meaning to blog about it ever since:
Long time no speak! I’ve been really busy putting together a new non-profit organization called Weathervane Music. In a nutshell we’re experimenting with a new model for how to fund and promote the work of great independent musicians.
Our main focus to start is something we’re calling the Weathervane Music Project Series. It’s a curated music and music-related video series produced for the web in which selected artists come into the studio (at no cost to them, of course) and record a song. The whole thing is artfully captured in hi-definition video, providing great exposure for the artist, some interesting material for gear enthusiasts, and a general primer for Weathervane’s mission.
Now NPR‘s All Things Considered has beat me to it, six months later as part of The Decade in Music: ’00s. NPR’s extraordinary instinct of going beyond the death and destruction of virtually all the major recording studios in New York City (Recording Studios Face an Uncertain Future) paid off by looking at the dynamics of low-rent Philadelphia (where commercial studios are also struggling), and discovering the diamond-in-the-rough story of an environment providing free recording services to a handful of deserving artists. But the reporting could have gone much further…
On December 3rd I attended the Jazz Loft Project book and website launch event at the West End Wine Bar in Durham, NC. WUNC’s Frank Stasio, always on top of local goings on, clued me in. It was packed, despite the venue being situated by LOCAL TRAFFIC ONLY signs from all approaches. Where else would Jazz fans congregate, if not in some well-hidden bar that’s so small you’d need three of them just to hold all the people who came to hear the music?
Needless to say I bought the book, got it signed, and have since met people who are on their third reading of the text. I’m trying to save it for Christmas!
I look forward to the time when, perhaps 40 years from now, The Miraverse has become the definitive archive for a new collection of music representing a meaningful continuum of talent and community.