Earlier this year Moogfest, which was born in Asheville, made its debut in Durham. The event was a world-wide sensation, bringing 10,000 people a day, for four days, into the funnest, funkiest, most fabulous venues in Durham to share and experience electronic music innovations and inventions. It created an estimated 1.3 billion media impressions and earned a very encouraging New York Times review.
But the heartbeat of Moogfest doesn’t stop after four days of performances and partying. It simply goes underground and travels around in the form of dial-tones events. These events bring Moog leaders together in cities around the world, connecting performers with educators, entrepreneurs with artists, community leaders with community creators.
Normally, Dial-Tones events are held in large cities, but the Moogfest team was so impressed with our space that they decided to host an event close to home. It was a great success! Here’s a little mosaic of images showing the events of the day, from the get-together before Mary Lattimore‘s performance, some words from the Moogfest team, a wonderful performance, and a chance for people to talk with Mary after the performance.
We are so proud to have co-hosted this event, and look forward to more exciting collaborations with the Moogfest community!
In my book, the greatness of Dylan’s genius is not that it stands alone, but that it supports the work of other geniuses, such as Taylor Mac and Wayne Krantz. Their ability to take the familiar and make us experience it completely new ways gives us insights, hopes, and confidence that we, too, can take our familiar selves and change the goddamn world. That’s not only an exciting message, but it’s an empowering and transformative experience!
Once upon a time, there existed a very special kind of music that cast a magic spell upon its listeners. Beyond sheer beauty and raw excitement, this music bestowed powers of creativity beyond imagination, revealing a transcendent possible beyond any conventional reality. I first encountered such music when I was 12 years old, in the form of Emerson, Lake, and Palmer’s Tarkus. I had grown up in a music family and had listened to a wide range of music all my life, but this album challenged and inspired me like nothing I had ever experienced before. It was magic for me. Continue reading “Carl Palmer’s ELP Legacy Tour 2016”
Wayne Krantz first visited The Miraverse February 15th, 2015 after receiving the All Clear from Jimmy Herring and others. That night we recorded Wayne playing with long-time collaborator Keith Carlock on drums and Grammy-winning legend Anthony Jackson on bass. And we have the video to prove it:
It was an incredible evening, listening to a mix of older songs as well as several new selections from his just-released album Good Piranha / Bad Piranha. These new songs were an exploration of what might happen if Wayne used some well-known hooks as the kindling for his virtuoso pyrotechnics. Songs like MC Hammer’s “U Can’t Touch This” and Ice Cube’s “Check Yo Self” never sounded so progressive!
So here’s the exciting news about Wayne’s return to The Miraverse on October 19, 2016:
I have been talking for some time about the virtues of kickstarter funding for music recording projects. The indie album Move by Matt Phillips and the Philharmonic could not have been made without kickstarter funding. But the more I learn about the world of music kickstarters, the more I see there is to learn.
The Set Chopin Free project reached its $75,000 goal scarcely two weeks into its seven week funding schedule. It is already more than $5,000 above its funding goal, and could well surpass $100,000 by the time its funding window closes. And the Open Well-Tempered Clavier project (launched by Robert Douglass) has already reached 50% of its $30,000 fundraising goal from more than 450 supporters in its first 5 days! That kind of strong start virtually guarantees funding success, and leaves us only to wonder whether it will achieve 160% (like Open Goldberg Variations), 200% (like Fractal Journeys and the Twelve Tones of Bach), 350% (like the Well-Tempered Clavier Tour), 600% (like Musopen’s Set Music Free) or more than 1100% (like Amanda Palmer did in her amazing 2012 record). The possibilities are quite wide open. But real questions remain: how did this happen? what does it mean?
A press release today invites the press itself to consider some more pointed questions:
If both Open Goldberg and Musopen succeed with their Kickstarter campaigns, collectively raising over $100,000 for new recordings of standard repertoire, it is probably worth asking “Who is holding classical music in shackles?” and “Why do so many people feel it is so important to set Bach and Chopin free?” Continue reading “Success Stories”
We are proud and fortunate to have created the inspiring space that is Manifold Recording. But we always envisioned achieving something more than what we can do for artists, engineers, and producers. We believe that there is a larger public sphere that is curious, excited, and even ravenous for new ideas, new experiences, new musical performances and productions. We wanted to also create a space in which a newly-engaged public could bring new energy, new interests, and new resources to create a healthier, more vibrant, more sustainable future for music and musicians.
One thing I have learned as a former Trustee of a model Montessori school is the importance of the prepared environment. Characteristics of the prepared environment include: beauty, order, reality, simplicity and accessibility. It may have required the genius of Maria Montessori to explain why these are crucial to child development (compared with, say, efficiency, authority, policy, technology, and convenience), but as adults, it is obvious to most of us that such environments are conducive to our own development, too! Like fertile ground ready to bring forth an abundant harvest of whatever may be planted, prepared environments known as Salons helped bring about The Enlightenment by injecting academic discussion and debate into a newly formed public sphere (that was also a by-product of the Salon experience). Adam Smith and Benjamin Franklin presented and refined their ideas at salons, “inventing” large parts of modern capitalism and modern democracy in the process.
But commerce and politics were not the exclusive subjects of salons–they were but two of myriad subjects that excited those who participated. Frédéric Chopin and Franz Liszt were proof of that. Chopin, in fact, preferred the environment of the salon to public performances. Continue reading “The Miraverse: A Salon for the 21st Century”
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:
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. Continue reading “Competition vs. Validation”