Sorry to hear that, @JKL. Is that a lifelong condition?
What are y'all up to?
Very likely yes @JohnM, but nothing to be sorry about. Their surgeries saved their lives and now it is simply part of their routine. We do worry about bullying, but we work hard so they learn to ignore small minded people. Thanks for the concern.
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My heart goes out to them Jeff @JKL . This stuff is all new to me and to learn that babies (your granddaughters) have a lifetime of suffering makes me humbled. Give Elise a big hug and a kiss from me.
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It’s very difficult for me imagine what it would be like. My heart goes out to them too.
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Oh man!! Soooo good!
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This has been a pretty exciting few days for acoustic music, atleast for me. Billy Strings (I know not everyone is a fan here) sold out Nashville’s Bridgestone Arena on Friday and Saturday (20,000 in attendance each night). On Sunday, he sold old the Ryman.
Last night on The Tonight Show (Jimmy Fallon), Sam Bush was featured on mandolin with Dierks Bentley. Also an acoustic guitar solo for Charlie Worsham and a fiddle solo for the band fiddler (just remember his Instagram handle is FiddlinDan).
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I made it back from Music City after a mentally & physically grueling yet extremely satisfying week of creation!
I recorded an amazing ~2hour lesson with Kenny Smith along with several weeks of lesson content including the Higher Ground series (huge shoutout to @Michael_Mark for the help!). Thank all y’all who joined us on the live events!
Thursday I went into Sony studios and produced a 10 track album that turned out amazing. This was the biggest project I’ve been involved with as a producer and I’m so proud of it and the artist. Matt’s first album had over 1 million streams in 2022. I believe this sophomore project we cut is heads and shoulders beyond the last one. I’m excited for y’all to hear it later this year.
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@BanjoBen When you produce an album, are you the creative lead? My only reference point for what a producer does is from watching George Martin in the Beatles Anthology documentary.
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Congratulations on getting through the Nashville week successfully Ben! I knew you would. 
I loved the live class with Kenny Smith!
We had an exciting weekend too. Took Tater for a spin for the first time! (We named the bus that since it came from Idaho! 
) This upcoming weekend will be our first time taking it to gigs!
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Looking forward to buying it and listening closely. What is the role of the producer? Will you have control over everything musically? Is it mainly deciding what goes on the album and what doesn’t? etc.
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Producer/artist relationships vary greatly, kind of like the relationship between a home buyer and a contractor.
My role in this project is holistic, guiding the artist through it from start to finish (and beyond, most likely). I helped him choose the songs (he wrote them all, but we had to narrow them down). From there I edited the song structures, chords, grooves, etc. I arranged the personnel/logistics including the engineers, studio, and players. In the studio, I was the one who cast creative vision at the start of the session. I made many of the calls on tones, feel, arrangement changes, note selection, harmony lines, acceptable solos, and I make the final call for when I feel the band “got” the right take.
I would hold some players over and work with them on their parts until I liked what they played. I also played some keys on the record. But, I left a lot of the creative decisions about their parts up to the player. The reason why I hired these particular players was because I knew what they would do if they were given freedom to create…and they did.
The pickers were:
Acoustic guitar: Dennis Parker
Drums/percussion: Toby Caldwell
Bass: Dennis Crouch
Fiddle: Justin Branum
Steel/lap steel: Mike Johnson
Electric/baritone: James Davis
Then after the tracking, I guide the artist through the vocal takes and harmonies. This artist sings so well he didn’t take long, in fact we kept most of what he tracked with the band…that is rare these days.
I’m handling the budget/payments.
I’ll then oversee the mixing/mastering process. At that point, I’ll probably help him shop the record and sign some distribution agreements, playing more of a producer/manager role. Again, this is all customized according to the relationship with the artist. I’ve been this guy’s mentor (and almost like a dad, in many ways), so it’s different and deeper than some producer/artist arrangements.
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So cool! I was thinking that nowadays they record the tracks seperately, and lay them one on top of another.
I listened to some of Matt’s music. I thought he sounded a bit like Craig Morgan, especially in his lower range. Really looking forward to the finished product.
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Many do, but we recorded this record much like they used to. The entire band played together at the same time. It’s an organic project, country music.
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I really like the idea of live collaboration, group performances where the artists are together.
Sure… tech today enables so many ways to alter the process and work-around certain constraints… and better to accommodate such methods so that music production results rather than not producing!
That said, some good ole jamming together is awesome and hard to beat - regardless of genre!
This is especially true when accomplished artists not only perform but also those who can listen and respond to other players… especially during improvisations.
I saw a wonderful documentary that was a Jazz Master Class clinic with Wynton Marsalis teaching and leading exceptional younger players how to listen to each other… and weave a conversation into their performances.
It was amazing and fascinating!
I have also heard this a lot in Bluegrass.
Just like a conversation can be done “through chat” or by email, the most effective dialog is done in person with direct conversation. Music is that much more interesting as the medium allows for simultaneous and/or individual expression.
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@BanjoBen Totally random observation because of your project… I have a collection of bluegrass and country CD’s. I play them in my truck, and from my iPhone through a SONY bluetooth speaker. (Not HI-FI equipment). When I first listened to the Purple Hulls CD’s I noticed it was better sounding. The Stillwater Drive CD is really clear as is the Dennis Parker CD compared to others.
I guess there can be a huge difference in quality of what’s put on the CD depending on the studio?
Also, what is the best format to purchase music so the artists receive their best share?
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Re: your last question, I don’t think you can beat buying a physical CD.
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Purchasing the physical product is pretty much the only way for the artist to receive any significant amount of money.
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Attended the St Pete cabin camp yesterday. It was an absolute blast!! Big thank you to Ben, Katy, Penny , Doc and everyone else involved in making it possible! I left inspired and excited to continue on my music journey. Thanks again!!!
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