Wisconsin Music Podcast

WMP#134: Inside Halliewood Recording Studio: Crafting a Modern Studio Environment

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 134
Jordan Haversholm of Halliewood Recording Studio

WMP Linktree: https://linktr.ee/WI_Music_Podcast

https://linktr.ee/halliewoodrecordingcompany

Here are the ones that are most current and I update the most.

instagram.com/halliewoodrecordingcompany

 

1. **Studio Environment and Name**:

Jordan discusses his studio, Halliewood Recording Studios, and how he created a modern environment conducive to creativity.

2. **Studio Technologies**:

He talks about his exploration of new technologies like Atmos and his plans to incorporate them into his studio setup.

3. **Importance of Well-Treated Spaces**:

Jordan emphasizes the significance of having well-treated studio spaces for accurate decision-making during recording, mixing, and mastering.

4. **Immersive Experiences in Music Production**:

The discussion explores the potential for immersive experiences in music production, particularly with technologies like Atmos, and how it enhances creativity and expression.

5. **Collaboration and Community**:

In this episode, we sit down with Jordan Hoversholm, owner of Halliewood Recording Studios, for an insightful conversation about the world of audio recording and studio technology. Jordan shares his journey in establishing his studio and discusses his approach to creating a modern and conducive environment for artists. He offers valuable insights into the evolving landscape of studio technologies, including new advancements like Atmos, and emphasizes the importance of well-treated studio spaces for creativity and accurate decision-making. Whether you're an aspiring musician or a studio enthusiast, this episode provides a wealth of knowledge and perspectives on the art and science of audio recording.

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Transcript:

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Music.

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Welcome to the Wisconsin Music Podcast. This week we have Jordan Hoversham.

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Did I say that correctly? You did. Awesome.

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All right. And he is part of Haleywood Recording Studios. So,

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Jordan, welcome to the Wisconsin Music Podcast.

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Hey, thanks, man. I appreciate you having me. So let's give the listeners a

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little bit about yourselves.

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How did you get into music? And then kind of how did you get into the other

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side of the glass, so to say, in the recording studio? All right, for sure.

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Well, I was always kind of interested in music, and I played trumpet in middle

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school and high school, and then that transitioned to guitar lessons,

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and then I kind of was drawn more to rap and hip-hop and car stereos,

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and that kind of started my electronics wormhole.

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You know so fast forward

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a little bit out of high school i had a buddy who was going to mmi and i didn't

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really know you know what an engineer is like well you know a lot of people

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apologies mom and dad if you listen but a lot of people just think like oh you're

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a dj like yeah yeah i'm a dj.

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So he kind of just opened my eyes to like you know the first time seeing pro

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tools and seeing and recorded audio, I was kind of, you know,

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my, my nerd senses were tingly.

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So, uh, you know, that kind of opened that up and I ended up going to MMI with a buddy of mine.

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And then I moved back up to Eau Claire and just started working with rap artists

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or singer songwriters, pretty much, you know, anything I could accommodate in a bedroom studio.

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And then I reached out to, the couple studios around and would go out there

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for, you know, if I do like drums and then come back and do overdubs.

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And, you know, the dream was always to have my own place.

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And so last summer, I, you know, kind of committed to building this place,

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got a shed in the backyard.

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And yeah, since then, I've been Tim, the tool man out here, went to YouTube

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University, trying to figure out how to soundproof and drywall and wire everything up.

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Gotcha. Gotcha. Yeah. You and I are not kind of the same boat.

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I've been doing audio engineering for since the early 2000s.

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I went to the recording workshop out in Chillicothe summer of 01 or 02.

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It's a blur by now, but I'm a high school band director by trade.

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And I also run the recording arts club at the high school.

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So we have a lot to talk about today. Cool. Cool.

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So for our listeners out there, though, they don't really care about me, but more about you.

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So what are you where are you basically located and what do you feel is like your your niche?

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All right. Well, I'm a little north of Eau Claire. I was going to say,

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man, you you nailed the last name better than any substitute teacher I've ever

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had in my life. But the, the Hollywood, I named it that because Lake Halley

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is, it's like 10 minutes north of Eau Claire.

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So I'm actually not in the Madison area, but it's totally cool,

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man. I, uh, I probably put in my, you know, bio thing that I went to Madison media Institute.

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So I'm like a 10 minutes north of Eau Claire and you know, it's,

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it's pretty accessible as far as like highway 53 and 29 are like,

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I could almost throw a rock to the intersection of that.

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So you know it's i have some people from the

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cities from wausau you know

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pretty easy to get here but yeah then

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niche wise i i'm kind of trying

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to spread my wings a little bit by opening this studio i

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will say you know i although i was limited in my

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first well i graduated in

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same here i can't remember if it was 2011 or 12 but

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in or around yeah right you

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know mostly doing vocals vocals which you know after

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a certain time is like

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I you know I want to do more but I realized that that was maybe

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a blessing in disguise if you will because vocals you

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know as you know can be one of the hardest instruments to mix because everybody

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knows what a voice sounds like like if you're doing like synths and sample drums

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is like well the weirder the better for synths but But instruments like piano

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or guitar or especially the human voice,

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like we, you know, our hearing is tuned when we're born to, you know,

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hear our mother's voice and recognize that.

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So it's hard to fake that.

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So I just, you know, when I started to do things more than rap and hip hop.

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I just always fell back on, like, if the vocal production is right,

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then, you know, the vocalist is in the center of the stage for a reason and the center of the mix.

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So as long as that's believable, I mean, I'm not saying that the drums could

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be, you know, an afterthought, but I just, that was kind of what I hung my hat on.

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And I mean, now I'd, I'd like to think I'm, you know, more well-rounded than

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I was when I first started, but I really try to hang my hat on vocal production.

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Production gotcha so yeah i mean if

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you think about it majority of the people they want to

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go when they go see a band or whatever they want to sing along

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so if there's a very bad vocal production it's

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it's it's a major turnoff for some people yeah absolutely yeah it'll make you

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hit skip real quick yeah exactly exactly being that as vocals are being your

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your main thing but you're also kind of branching out you said you're in your

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back in your backyard yes okay so So how big,

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you called it a shed, but how big is your shed?

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Well, yeah, my buddies kind of clowned me for that. They're like,

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you got to stop calling it a shed, man.

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But I got one of those kind of pre-made sheds like there, you know,

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alongside of the highway.

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There's a couple of different companies. And I was lucky enough.

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There was like three different places kind of had show lots around here.

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So I could kind of walk through, you know, look at the roofs of the ones that had been around.

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Like, well, this one's a little slanted and the door doesn't close.

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I think I'll check the next guy's.

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So the plan was I was going to lay a slab and, you know, build it.

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A structure, but we have a side lot. And I got into it a little bit with the village.

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They're like, you know, if you want to build a slab, you got to combine your lots. We're on a corner.

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So property taxes that go through the roof, blah, blah, blah.

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I'm like, so what if I got a portable shed? There's like, they're like,

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well, there's not much we can do. I was like, right. Okay. Thank you for your time. Goodbye.

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So ordered that. And that came as a shell. and

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then it's it's 16 by 32 so

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the the control room is about

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17 feet and then you know i guess i i shouldn't be pointing for our audio and

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then the other so the the control room's probably like almost two-thirds of

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it okay and then i kind of sectioned out like a little booth and then the The

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rest is, depending on semantics,

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the, you know, the live room or drum booth. Right.

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But I tried to, you know, this has been a lifelong dream.

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And I know that, like, you know, if I move in the next house I go to,

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it might be like, well, this room is the studio.

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So since I had the chance to build it the dimensions I want,

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I kind of, you know, went through the wormhole of the Sepp Meyer golden ratios.

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Ratios, tried to make sure I

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wasn't setting myself up for modes and nodes that were going to build up.

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Like, you know, with an eight foot ceiling, you don't want your room to be 12

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feet wide and 16 feet long, or there's not enough treatment in the world to save your butt.

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So I tried to do due diligence there.

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Also, when I got the place, it had this, you know, cool siding, whatever.

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And I thought like a typical house, you're going to have like your plywood

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and then you're sheathing on the outside well the outside was

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the inside it was about a third of an inch thick so

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yeah my first move was to cut out

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mold and mildew resistant drywall to fit in

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every pocket of the studs then insulate that

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and then i built every room is a room within a room so there's you know even

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though it was all framed out i left a two inch gap framed out the control room

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then same for the other ones then like the ceilings of these rest on the walls

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of individual rooms so i i should have,

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you know, there's no way to test it until there's no 50% point where you're

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like, oh, is this going to work?

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It's like, no, when I put the last door on, it's like, did I do it right? Right.

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So I'm still patiently waiting that day.

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But I mean, I've been trying to, you know, really follow it to the letter because

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just everything that I read is like, look, if you're going to skip one step,

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then just don't do it at all. Yeah.

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Yeah. It's either you go full tilt or you don't do it at all,

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basically. Exactly. Exactly.

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So for listeners that are interested in coming up to you and doing some projects,

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for example, let's say a four piece rock band wants to come in.

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What should they prepare for when they're coming to your studio?

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Um well i wanted to build uh you know

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the the place big enough to be able to

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track it live if that's you know if bands are playing out a lot and they're

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super tight and that's how they always play it i wanted to be able to accommodate

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that even though you know most times in my past it had been kind of the brick

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by brick method so the live room is big enough for like a drum set.

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And I guitar player and bass and

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I have like an ISO room kind of built in the

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booth I mean I don't want to give you too many hand signals here

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and right show you but but essentially I kind of angled off in my last third

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of the shed the booth kind of goes to an angle and then like behind that is

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where like my electrical boxes the Cisco switcher for all the ethernet and all

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that so So that's also going to double as a ISO room.

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So that way, like if in the live room, I have drums, guitar player and his amp,

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you know, we could always put the bass amp in the ISO or the guitar amp in the

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ISO and run the bass DI and then vocalist in the vocal booth and everything's,

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you know, double walls, double doors.

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So in theory, I should be able to be at full volume in here,

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drummer bashing out there and the vocalist will be none the wiser. Gotcha. Cool. Cool.

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So let's back up even a little bit more. Say a band is starting to think about

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going to a recording studio.

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What are some things, some tips you could give a group, an artist,

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you know, what have you, before they even call a studio, what do you think they

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should be preparing for?

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Well, I, you know, there's, there's so many different, I guess,

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ways to approach recording nowadays.

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It's, you know, I, I'd say one is like playing to a click, whether that's even,

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just a singer songwriter or, you know, a drummer that can just be,

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if they, if you've never played to a click track before, it can be kind of jarring.

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And, you know, like I had a

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singer songwriter come in and he's kind of playing the song and

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I just tapped the tempo out and like five

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of the six songs at work but one of them it just didn't so you

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know then you got to go through and beat detective it but i just did that

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as a fail safe because i just kind of explained to him

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like if you if all we want to do

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is record guitar and vocals like that's

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fine but if you ever wanted to make these like full productions you know

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it just it gives us a little leeway there right you

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know put some scratch drums behind it and have

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a drummer come in or you know i'm capable of programming drums

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if you like how they sound we can ride with that and bring in

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a bass player but yeah i mean it just

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it can be different playing to a click it

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can be different playing in headphones so i

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mean i would even say like you know if a band's jamming

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out try to work some way that like even if it's like a little zoom interface

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and then you run some headphones phones and a splitter off that just so you're

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hearing the band and headphones as opposed to live that it you know might not

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sound like a big deal but it can be you know it can be.

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Very different and take you out of your comfort zone so if you come in here

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or to any studio you know like i can play it to a click i can play it not to

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a click i can play it without headphones i can play it with headphones that

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just kind of allows any method of of recording cool cool yeah Yeah,

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that's good advice. Yeah, definitely.

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You know, bands that I have had the pleasure of working with as well is like

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sometimes I say at least practice with a click.

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And when we get to the studio and if you feel really confident with your tempos

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and you don't want to do it with a click, but you've been practicing with it,

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you know, you guys are going to be able to do it well without it.

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If you're, you know, if you're listening to each other and you're just,

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you know, locked in because sometimes that happens.

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Yeah, yeah. No, you're absolutely right. Then it's like running with the weights

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off, you know, it just practice into the click. just tightens them up.

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Exactly, exactly. Now, what are some other things that you've experienced over

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the time of being a recording engineer that would help listeners out there that

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are looking forward to doing a recording project?

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Well, here's maybe something kind of cool. I just like to, if you just feel

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like you're kind of in a funk or I'm writing the same song over and over...

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One thing I found kind of cool is to put on, you know, either a movie they like

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or maybe a movie they've never seen and on mute.

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Right. And then just watch a scene and kind of score it, whether it be with

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just your guitar or or whatever, you know, because it'll it'll kind of get you out of your rhythms.

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Maybe. Yeah, that can kind of be a good thing to like shake things up and bring out some emotions.

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And then, you know, sometimes if you feel like you're writing the same song

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over and over and say you're, you know, writing down tempo kind of melancholy

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music is like, well, watch something happy and see what comes out.

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Or the reverse can be true, too, is like, you know, people will be like,

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well, you know, I can't write sad songs. My life's pretty good.

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It's like, well, watch a watch a movie that can tear at the heartstrings a little bit.

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It and then you can almost you know put yourself in their

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position and then you know then the emotion

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that's coming through is still you know

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authentic although it might not be yours if you're

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like feeling for them i don't know if that makes sense

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or not yeah definitely yeah yeah you get inspired by

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something that you weren't even thinking about at that moment it's

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just like a complete shift it's like you took a right turn

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instead you know going left kind of thing yeah yeah yeah absolutely

230
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so what about the listeners out there

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that are interested in becoming a recording engineer what

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kind of advice do you have for them well first of all don't you better not like

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money well that's almost for every musician out there too yeah no no for sure

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i mean i'm like being a little tongue-in-cheek yeah i know i i mean i i will

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say too is like you know most most engineers,

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I don't want to say are failed musicians because we're all still working on our albums, right?

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They just, we just drop them every 10 years, like Dr. J or something.

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They're just slightly less anticipated.

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But I mean, that's a really what drew me to it is like going to.

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Going to MMI, you know, I wanted to be the all singing, all dancing producer, play every instrument.

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And, you know, I had buddies in class, like when we're in production classes,

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classes, they'd whip up an instrumental in the class period that I'd be like,

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I had worked for days on my composition and it doesn't compare to that.

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And they're like, well, you know, my dad was in the church band and yada, blah, blah.

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And then when it came to studio class, it was like, Hey, Jordan, my mic isn't working.

246
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Hey, Jordan. Hey. So it just, you know, for me, it was kind of a get in where you fit in type of deal.

247
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But I, you know, I would say like.

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It's, it's still a creative process and I try to, you know, that's what, um,

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gives me my creative fulfillment is, you know, mixing and mastering and coming

250
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up with ideas and trying wild stuff that may or may not work.

251
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But, you know, I would say like you have to be down with with the nerd aspect

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because I don't necessarily,

253
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you know, my buddies, they think that I'm like an IT guy, too,

254
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because I, you know, got my computer up and going.

255
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It's like, no, man, I know this percentage of computers and that's to keep my

256
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pro tools running, you know.

257
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So, but, you know, that being said is like, I feel like you have to be,

258
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you know, open to at least a little bit of electronics and, you know,

259
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I, and some things more than others.

260
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Like, I'm sure some people are far better at computers than me and,

261
00:17:16,341 --> 00:17:21,621
and all that, but like electronics is kind of, it's cool for me to see how stuff works.

262
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So I build like a lot of DIY kits and solder up preamps because,

263
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you know, you can buy a knee pre for 700 to a thousand dollars or you can get

264
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an AML kit for 230 bucks and.

265
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So I just mean maybe be ready to embrace the inner nerd because it'll come in

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handy with acoustics and things that I didn't even think of or we didn't even

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really touch on in school.

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Sometimes the schooling will give you the baseline to be able to understand

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the YouTubes you need to watch.

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You know what I'm saying? Yes. It basically, yeah, you learn the language in

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school and then you go down your own wormholes.

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And then it's like when you start getting into electronics, acoustics is like

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those can be their own discipline.

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You could just focus on that and stop engineering, you know,

275
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and be an electronics repairman or an acoustician.

276
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But I just try to stay open to all that and like, don't let it scare me.

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And I guess, you know, to answer your question, instead of just rambling,

278
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I just want to, you know, I'd say be open to things that even,

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you know, you don't know they exist or you haven't tried them.

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So you don't know that you'd be like, well, I could never understand that.

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It's like, well, like, trust me, I'm not the brightest crane in the box and

282
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I still can figure out my electronics and resistors and, you know, so. Right, right.

283
00:18:51,337 --> 00:18:54,977
Right. Yeah. And, you know, for, you know, for me, when I was starting out,

284
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I was like, schematics was like such a foreign language to me.

285
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I was just like, I don't know if I'm ever going to understand any of this,

286
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but if you just, you know, just like anything, if we just keep working at it

287
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and every failure is a stepping stone to success, eventually you're going to

288
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get it. Yeah, absolutely.

289
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No, for sure. And it's the same with an instrument or whatever,

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you know, picking up a guitar for the first time, like you're not going to be

291
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shredding in a week. No, it's going to get frustrating.

292
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And it's it's funny how sometimes, you know, that stuff will mirror itself,

293
00:19:21,697 --> 00:19:25,517
like with guitar, if you're practicing and it seems like you're getting worse

294
00:19:25,517 --> 00:19:28,197
and worse and then you set it down for a week and you come back to the song

295
00:19:28,197 --> 00:19:29,497
and you just lace it is like.

296
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Where did that come from? And it's the same with electronics.

297
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It's like you get to a mental block and you, you know, screw up a piece that doesn't work.

298
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And then you have to go and figure out why it doesn't work. And then something

299
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will just click like, oh, and now, you know, now I've overcame that and I'm

300
00:19:46,777 --> 00:19:49,197
ready for the next challenge, you know?

301
00:19:49,497 --> 00:19:53,737
Exactly. Exactly. You know, like the other day I'm, I'm setting up a MIDI keyboard

302
00:19:53,737 --> 00:19:56,957
and stuff. I'm like, why, why?

303
00:19:57,077 --> 00:20:00,817
I mean, it's getting signal to the channel, but it's not giving me any audio.

304
00:20:00,917 --> 00:20:02,837
Like what's going on? It's like, all of a sudden I went, wait,

305
00:20:02,977 --> 00:20:05,337
click this little button, like auto monitoring.

306
00:20:05,497 --> 00:20:08,517
Oh, now I'm getting exactly what I'm looking for. It's like,

307
00:20:08,597 --> 00:20:12,357
why didn't I think of that right away? It's just, sometimes you just get that little mental block.

308
00:20:12,497 --> 00:20:16,197
You just overthink something and you just like, oh, you totally missed something.

309
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And then all of a sudden you remember something and like, oh,

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it all comes back together.

311
00:20:20,097 --> 00:20:23,537
Together well yeah and it'll never happen again exactly

312
00:20:23,537 --> 00:20:26,757
you know exactly like that's in the toolbox now yeah

313
00:20:26,757 --> 00:20:29,397
exactly it's like if someone gives you all the

314
00:20:29,397 --> 00:20:33,997
answers you're not going to learn anything and then what good is that well yeah

315
00:20:33,997 --> 00:20:37,957
no i mean you you hit on something right there is like a lot of people will

316
00:20:37,957 --> 00:20:41,637
be like hey man can you teach me how to mix i'm like sure i'll teach you how

317
00:20:41,637 --> 00:20:46,977
to mix mix a thousand songs yep you know what i mean it's like that and i i'm I'm,

318
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you know, I don't say it in that voice. I'm being right.

319
00:20:50,177 --> 00:20:54,237
Right. But it's like, there's no other way you could, you know, it's good to read books.

320
00:20:54,277 --> 00:21:00,337
And in building this place, I started to feel more like a construction worker than an engineer.

321
00:21:00,457 --> 00:21:03,177
Yeah. So the whole time I'd be listening to podcasts.

322
00:21:03,357 --> 00:21:07,117
I mean, yours included in recording studio rock stars and working class audio,

323
00:21:07,257 --> 00:21:08,817
this, that, and the other.

324
00:21:08,857 --> 00:21:13,477
And that kind of helped me stay connected to recording. And then,

325
00:21:13,517 --> 00:21:17,137
you know, you're listening to those and they're talking about this trick that

326
00:21:17,137 --> 00:21:22,917
they did or how they got this, you know, reverb or putting a piezo pickup on an acoustic guitar.

327
00:21:23,077 --> 00:21:26,897
And, you know, all that little stuff is like noted, noted, you know,

328
00:21:26,917 --> 00:21:28,337
it's just in the vocabulary.

329
00:21:28,577 --> 00:21:33,717
Right. And then you have to go and do it or else you might forget all about it. Yeah, absolutely.

330
00:21:34,137 --> 00:21:39,357
So another aspect of being a studio owner is the business side.

331
00:21:39,357 --> 00:21:43,057
What are some things about the business side you can tell people that,

332
00:21:43,137 --> 00:21:46,877
you know, no matter if they're a musician or looking to become,

333
00:21:46,937 --> 00:21:48,057
you know, a studio owner,

334
00:21:48,197 --> 00:21:52,837
the things that you've learned over the time of doing this that you didn't even

335
00:21:52,837 --> 00:21:55,117
think might be something that you needed to know?

336
00:21:55,917 --> 00:22:02,757
Um, yeah, I mean, just treating it like a business, I guess that I hope this

337
00:22:02,757 --> 00:22:06,417
answers the question, but like whether it's a band or a studio is like we all

338
00:22:06,417 --> 00:22:08,717
start doing it because we love it.

339
00:22:08,717 --> 00:22:13,657
And then in the initial stages, I mean, we all struggle with like the imposter

340
00:22:13,657 --> 00:22:17,637
syndrome and, you know, things like that or charging,

341
00:22:17,797 --> 00:22:22,177
because then a lot of people like even if initially I'm working with my friends

342
00:22:22,177 --> 00:22:26,337
and then you start to work with strangers, but like you're working on music,

343
00:22:26,437 --> 00:22:28,937
you're helping them create something that's very dear to them.

344
00:22:30,199 --> 00:22:35,919
Most of the people I work with end up becoming friends. So then is like money gets weird.

345
00:22:36,179 --> 00:22:40,119
Um, you know, with bands, I'm sure it's, it's the same type of deal.

346
00:22:40,199 --> 00:22:43,039
I've, you know, haven't professionally been in a band, you know,

347
00:22:43,039 --> 00:22:48,419
just my band days ended in high school, but like, I don't know.

348
00:22:48,439 --> 00:22:52,299
I, I just heard somebody kind of explain it and I'm sure I'm going to butcher

349
00:22:52,299 --> 00:22:57,059
it, but essentially they were saying like, if you don't charge enough,

350
00:22:57,179 --> 00:23:00,199
you know, or it could, because money always

351
00:23:00,199 --> 00:23:03,159
gets weird and man money will kill the creativity if you

352
00:23:03,159 --> 00:23:06,179
have that talk like i always try to have like the money

353
00:23:06,179 --> 00:23:08,999
talk first before somebody comes in here

354
00:23:08,999 --> 00:23:14,839
because i hate talking money like i hate money you know that's why i'm an engineer

355
00:23:14,839 --> 00:23:21,299
yeah but that can kill the creative vibe but what i had to kind of overcome

356
00:23:21,299 --> 00:23:25,779
is like you know somebody was just saying they're like look if you don't charge

357
00:23:25,779 --> 00:23:28,119
enough you're going to be out of this business business.

358
00:23:28,559 --> 00:23:32,799
So you, you have to, you know, not saying rake people over the cold,

359
00:23:32,819 --> 00:23:37,659
but you have to know your worth because if you don't charge enough and you're

360
00:23:37,659 --> 00:23:39,119
going to be out of business in three years,

361
00:23:39,179 --> 00:23:43,179
what if somebody was going to come to you in five years that was going to make

362
00:23:43,179 --> 00:23:48,699
like an album that changed their life or other people's lives or, you know what I mean?

363
00:23:48,719 --> 00:23:52,899
So it was like kind of that kind of helped me overcome the hump of like,

364
00:23:52,959 --> 00:23:56,819
well, if I want to be here being able to to provide a service i have to make

365
00:23:56,819 --> 00:24:02,319
sure that you know i'm i'm charging more than you know.

366
00:24:03,259 --> 00:24:06,139
More than i initially did we'll just

367
00:24:06,139 --> 00:24:10,499
say that because then things like taxes come in and you know wear and tear on

368
00:24:10,499 --> 00:24:17,199
equipment and tubes and you know it just it all adds up and that's the same

369
00:24:17,199 --> 00:24:20,619
with the band like you know traveling with gear i'm sure and then splitting

370
00:24:20,619 --> 00:24:24,839
money i'm sure that can be kind of, you know, a point of contention.

371
00:24:24,899 --> 00:24:29,439
So it's just like, you know, it sucks to have to look at it like a business.

372
00:24:29,499 --> 00:24:31,899
And sometimes that can take the fun out of it.

373
00:24:31,979 --> 00:24:36,119
But like, you know, knowing your worth will make sure that you're able to provide

374
00:24:36,119 --> 00:24:37,599
your service for longer.

375
00:24:37,819 --> 00:24:41,719
Gotcha. Gotcha. So did you do like research, like call other studios in your

376
00:24:41,719 --> 00:24:46,119
area, see how much they charge or how did you figure out where your medium or

377
00:24:46,119 --> 00:24:48,219
your baseline prices we're going to start?

378
00:24:48,579 --> 00:24:54,279
Well, I had, when I had my, my basement studio that I affectionately called the blanket for it.

379
00:24:54,299 --> 00:24:56,819
Cause I just had a bunch of moving blankets around, you know,

380
00:24:56,859 --> 00:24:58,479
that was my sound treatment. Gotcha.

381
00:24:58,699 --> 00:25:02,379
I had a couple of panels up and stuff too, but I had, you know,

382
00:25:02,379 --> 00:25:05,979
worked with, and I still have a, you know, a good relationship with most of

383
00:25:05,979 --> 00:25:07,019
the studios around here.

384
00:25:07,259 --> 00:25:10,739
So, you know, I kind of knew what everybody's charging and I'm,

385
00:25:10,739 --> 00:25:12,639
you know, not the most expensive,

386
00:25:12,839 --> 00:25:17,799
but I'm not the cheapest either so you do i mean exactly what you said you kind

387
00:25:17,799 --> 00:25:21,619
of gotta you can't price yourself out of the market either right you got to

388
00:25:21,619 --> 00:25:23,559
make sure the phone's still ringing but um.

389
00:25:24,392 --> 00:25:28,852
Yeah i mean it's it's a tough deal to kind of figure out what it's worth and

390
00:25:28,852 --> 00:25:34,252
then in the past couple of years with prices hiking and everything else is like

391
00:25:34,252 --> 00:25:38,072
you know i i had to raise prices too and then you know you got to have the conversation

392
00:25:38,072 --> 00:25:41,212
with people like you know i'm i'm not doing this.

393
00:25:41,912 --> 00:25:45,512
Just because i decided to like if if groceries

394
00:25:45,512 --> 00:25:49,332
double right then you know

395
00:25:49,332 --> 00:25:52,352
prices got to go up too i i can't i can't

396
00:25:52,352 --> 00:25:55,492
charge my three years ago price for a project today

397
00:25:55,492 --> 00:25:58,232
exactly exactly it's like is there is the

398
00:25:58,232 --> 00:26:01,412
bubble gonna burst eventually i mean we can't just keep hiking prices left

399
00:26:01,412 --> 00:26:04,052
and right you know the back end to the front end it's just

400
00:26:04,052 --> 00:26:07,172
gonna it's got to explode eventually like everything else

401
00:26:07,172 --> 00:26:10,252
well yeah they can't just keep printing more money right

402
00:26:10,252 --> 00:26:12,932
exactly i mean they are but i

403
00:26:12,932 --> 00:26:16,052
right stops yeah because eventually everybody's

404
00:26:16,052 --> 00:26:18,812
going to be living in a cardboard bought a box pretty soon if

405
00:26:18,812 --> 00:26:21,832
prices keep going up yeah no no for sure

406
00:26:21,832 --> 00:26:24,632
i mean i hope we're out of it and like in building this place too

407
00:26:24,632 --> 00:26:30,072
you know the other deal is is like i you know this place costs about a little

408
00:26:30,072 --> 00:26:33,932
more than i thought it was gonna yeah price has got to go up you know because

409
00:26:33,932 --> 00:26:39,172
i've invested in that and then you know but i do i did try to cut corners and

410
00:26:39,172 --> 00:26:44,532
where i could as in and DIYing the things I was able to, but,

411
00:26:44,652 --> 00:26:49,712
you know, I, I have a significant chunk kind of tucked away in here and I try

412
00:26:49,712 --> 00:26:53,432
to have like a couple of choice microphones and kind of, you know,

413
00:26:53,432 --> 00:26:58,052
and I might not be everybody's flavor either, but what I kind of tried to do and this,

414
00:26:58,152 --> 00:27:01,292
you know, a lot of studios up here and the ones that I work with,

415
00:27:01,332 --> 00:27:04,852
and, you know, this is, I'm not saying this in like negative connotations,

416
00:27:04,852 --> 00:27:08,532
but they kind of have like an, an up North cabin cabin feel.

417
00:27:08,752 --> 00:27:11,512
And like, if that's what somebody calls for and they're looking for,

418
00:27:11,632 --> 00:27:14,972
I'll give them numbers of the other studios and be like, you know,

419
00:27:14,992 --> 00:27:17,712
go talk to my buddy at this studio, talk to my buddy at this studio,

420
00:27:17,812 --> 00:27:20,812
talk to my buddy at this studio, go take a tour, check the vibe out,

421
00:27:20,832 --> 00:27:23,192
because that might be more suited to you.

422
00:27:23,212 --> 00:27:26,572
I want to do something a little more modern, which is kind of, you know.

423
00:27:27,633 --> 00:27:30,953
In the name of Hollywood, like the town up here is called Lake Halley.

424
00:27:31,073 --> 00:27:34,133
And I just kind of called it the first

425
00:27:34,133 --> 00:27:38,253
place we lived in. It was known affectionately known as the tank farms.

426
00:27:38,493 --> 00:27:41,233
And there's a bit of stigma up there, you know?

427
00:27:41,373 --> 00:27:46,293
And so I, I just said it, you know, I always would tell my friends when they

428
00:27:46,293 --> 00:27:48,633
were coming up, like, oh yeah, I moved up to Hollywood now.

429
00:27:48,753 --> 00:27:52,333
So then when we moved to this spot, I just, you know, I had a couple of studio

430
00:27:52,333 --> 00:27:55,913
names and people like, no man, man. That's, that's, that's you, that's your name.

431
00:27:55,993 --> 00:28:01,393
But I, I, you know, initially it's like the name is kind of to not take myself

432
00:28:01,393 --> 00:28:04,633
too serious, but at the same note, well,

433
00:28:04,953 --> 00:28:08,073
you know, I wanted to live up to the name a little bit and, you know,

434
00:28:08,073 --> 00:28:12,873
it, it looks pretty modern in here and you know, on my way to heaven at most.

435
00:28:12,973 --> 00:28:17,393
And I want to, you know, stay up on the newest trends and I, you know.

436
00:28:17,633 --> 00:28:22,073
Yeah. I was going to ask you about some of the new technologies coming up and

437
00:28:22,073 --> 00:28:25,033
how you're working with those for one of the things I was going to ask you is

438
00:28:25,033 --> 00:28:30,313
like things like studio or audio movers where you can do mixing over the internet

439
00:28:30,313 --> 00:28:34,173
with people or even recording and then and I was going to get over to Atmos

440
00:28:34,173 --> 00:28:36,093
and seeing if you're going to go that direction as well.

441
00:28:36,673 --> 00:28:42,613
Yeah I haven't I mean I've done a fair amount of research into the audio movers

442
00:28:42,613 --> 00:28:48,073
and Soundflower and things like that but I never ended up really doing a ton

443
00:28:48,073 --> 00:28:53,993
of you know the recording with no no latency or, or whatever.

444
00:28:54,293 --> 00:29:02,453
I don't know. I see, I put myself in a bit of a, well, I mean,

445
00:29:02,453 --> 00:29:05,433
you know, I was held through the pandemic. A lot of people couldn't,

446
00:29:05,433 --> 00:29:07,233
you know, we couldn't leave. We couldn't. Yeah.

447
00:29:07,813 --> 00:29:13,293
So I had kind of pieced together. I'd call, you know, my rep at Sweetwater and

448
00:29:13,293 --> 00:29:17,173
put together a package for people because they'd be like, okay, I need to record.

449
00:29:17,353 --> 00:29:19,353
It's like, well, what's your budget? What are you looking at doing?

450
00:29:19,453 --> 00:29:21,053
Do you need speakers? Do you just want headphones?

451
00:29:21,273 --> 00:29:25,293
Blah, blah, blah, blah, blah. So I ended up facilitating getting a bunch of

452
00:29:25,293 --> 00:29:26,773
artists around here, home studios.

453
00:29:27,073 --> 00:29:30,193
And now it's like, Hey man, you know, forget all that come in here now.

454
00:29:32,373 --> 00:29:36,053
But so instead of the audio movers route, I had almost, you know,

455
00:29:36,053 --> 00:29:42,173
kind of made people, you know, or help them be able to record at home.

456
00:29:42,233 --> 00:29:46,193
So I could just do the mixing if they, we transferred me the stem.

457
00:29:46,313 --> 00:29:51,593
Right. Right. And now I just kind of, I want to get in you know the ground floor

458
00:29:51,593 --> 00:29:58,093
things and you know have more than just like interface preamps and you know

459
00:29:58,093 --> 00:30:02,293
MXL mics and nothing against I'm not you know not knocking the brand in total

460
00:30:02,293 --> 00:30:04,893
I just mean like I wanted to have to,

461
00:30:05,992 --> 00:30:09,872
you know, higher quality. I wanted to have like the treatment in this room.

462
00:30:09,952 --> 00:30:14,732
Graham from Music City Acoustics gave me like four plans, mild to wild.

463
00:30:14,852 --> 00:30:18,192
And the wild plan was the whole back wall is bass traps.

464
00:30:18,352 --> 00:30:21,392
So I went with three of four on the crazy scale.

465
00:30:21,612 --> 00:30:26,312
But you know, I got the whole ceiling is clouds. I got bass traps in all four corners.

466
00:30:26,852 --> 00:30:32,972
There's about 16 panels around the side. So I I mean, it's a fine line between dead and tight in here.

467
00:30:34,352 --> 00:30:39,612
I auditioned my buddy in town that has Eau Claire Perle Audio, Zach.

468
00:30:40,872 --> 00:30:44,672
I found his store on Reverb, and he had like some barefoots.

469
00:30:44,812 --> 00:30:50,032
At the time, I had some ATC SCM20s, but I was looking at getting these PMCs.

470
00:30:50,652 --> 00:30:55,072
He had like three or four sets of like really nice monitors for sale.

471
00:30:55,112 --> 00:30:58,152
I'm like, listen, dude, I don't know who you are or how you,

472
00:30:58,232 --> 00:31:01,652
you know, what you're doing with all these monitors, but you let me know when's

473
00:31:01,652 --> 00:31:03,712
a good time to buy you a coffee. We need to have a little talk.

474
00:31:04,012 --> 00:31:07,032
So he, he brought his monitors over.

475
00:31:07,092 --> 00:31:11,812
I ordered the, these PMCs with the intention of returning them if my ATCs beat them out.

476
00:31:11,872 --> 00:31:18,632
So I was able to audition like four or five pairs of very nice monitors in my

477
00:31:18,632 --> 00:31:23,052
space, which, you know, would not be attainable usually.

478
00:31:23,092 --> 00:31:27,612
Like I can't go to Vintage King in, in Nashville or LA and audition them them

479
00:31:27,612 --> 00:31:32,432
or whatever you go to guitar center and it's like they're kind of on like a

480
00:31:32,432 --> 00:31:37,612
storage rack in a small glass room is like this isn't my room they don't even

481
00:31:37,612 --> 00:31:41,292
have all the ones i want and yeah so i mean.

482
00:31:42,533 --> 00:31:51,293
I just tried to get, you know, like bang for my buck as, as good of a monitoring

483
00:31:51,293 --> 00:31:52,333
environment I could get.

484
00:31:52,393 --> 00:31:59,553
And then that kind of led me down the Atmos wormhole and I have the ceiling firing speakers set up.

485
00:31:59,853 --> 00:32:05,513
I'm waiting to get the full array around, but before I jump off that deep end,

486
00:32:05,573 --> 00:32:07,893
I got to finish me live room here.

487
00:32:07,953 --> 00:32:11,513
I'm drywalling right now. So the lights at the end of the tunnel,

488
00:32:11,513 --> 00:32:19,813
But I do plan to have Atmos fully up and running, you know, by spring, summer next year.

489
00:32:20,053 --> 00:32:23,473
That's something that really, you know, really interests me.

490
00:32:23,513 --> 00:32:24,453
I think that's super cool.

491
00:32:24,533 --> 00:32:28,933
And I believe in it, even though like the 5.1 didn't take off.

492
00:32:29,333 --> 00:32:32,613
Just, you know, I heard a couple of people talking about it and just like,

493
00:32:32,633 --> 00:32:36,613
like we got to listen to quad mixes in school, the dark side stuff.

494
00:32:36,613 --> 00:32:40,113
Stuff and it's awesome but like a lot of people unless you're an audiophile you

495
00:32:40,113 --> 00:32:43,413
don't even sit in one space and listen you know

496
00:32:43,413 --> 00:32:46,633
i mean i even find myself doing it with my you know my

497
00:32:46,633 --> 00:32:49,513
amazon devices you know it's like hey play this song play

498
00:32:49,513 --> 00:32:55,413
this podcast and i'm walking around doing dishes doing laundry right so just

499
00:32:55,413 --> 00:32:59,193
what's cool about the atmos is like the whole object-based thing where like

500
00:32:59,193 --> 00:33:04,853
you know as we know in if you have a stereo track and you're you're looking

501
00:33:04,853 --> 00:33:06,853
at edit in your DAW, unless Logic,

502
00:33:06,933 --> 00:33:09,213
I think they only like show one of the tracks.

503
00:33:09,313 --> 00:33:13,833
But anyways, you know, a stereo track is just two audio tracks linked to each other.

504
00:33:13,893 --> 00:33:18,153
The 5.1 mix is six of them. You have five speakers in your low frequency channel

505
00:33:18,153 --> 00:33:22,813
and there's just six waveforms. It's like this goes through this speaker, this goes through this.

506
00:33:23,033 --> 00:33:28,013
So the whole object based thing, that kind of sold me on it where like,

507
00:33:28,093 --> 00:33:33,773
you know, you can, if you have a soundbar that has three, three,

508
00:33:33,773 --> 00:33:35,493
you know, left, right, center.

509
00:33:36,053 --> 00:33:40,353
And then like, you can add two of the Sonos ones, just drop them behind you.

510
00:33:40,413 --> 00:33:44,033
And then as long as you let your interface know is like, well,

511
00:33:44,093 --> 00:33:45,333
what are we playing this through?

512
00:33:45,413 --> 00:33:48,813
One speaker, three speakers, how many ceiling firings, how many surrounds?

513
00:33:49,433 --> 00:33:55,453
It's just super cool to me. And you know, it makes me believe that that is the way of the future.

514
00:33:55,633 --> 00:33:59,553
And I also, you know, in my time of,

515
00:33:59,613 --> 00:34:02,373
you know, trying different things to see what sticks i've done a couple

516
00:34:02,373 --> 00:34:05,213
of short films and i'm working with a company in

517
00:34:05,213 --> 00:34:09,633
town now that puts out a a fair amount of shorts it's like four people together

518
00:34:09,633 --> 00:34:16,273
a collective and i'm gonna you know be doing all their audio and so at most

519
00:34:16,273 --> 00:34:20,813
is like a must when it comes to that too yeah i just figured that opened the

520
00:34:20,813 --> 00:34:23,613
doors and i i also just found it cool that like.

521
00:34:24,358 --> 00:34:29,018
You know, people, I mean, in, in bigger cities where there's a lot more Atmos

522
00:34:29,018 --> 00:34:32,798
rooms, people are starting to create with the idea instead of like,

523
00:34:32,918 --> 00:34:36,778
Hey, take my true two track mix and make it Atmos like, okay,

524
00:34:36,778 --> 00:34:41,918
well I'll add a longer reverb for the side and a longer, longer reverb for the rear.

525
00:34:42,978 --> 00:34:47,278
Right. Right. It's like, if people are creating with the idea that this is going

526
00:34:47,278 --> 00:34:49,938
to be immersive, I just, I think that that,

527
00:34:49,978 --> 00:34:55,178
you know, can be like another way for people to express themselves or create

528
00:34:55,178 --> 00:34:59,658
cool environments or, you know, experiences for the listener.

529
00:34:59,718 --> 00:35:03,498
And I'm all in. I'm so. So, yeah, we were talking about Atmos. Now.

530
00:35:03,918 --> 00:35:08,278
Yeah. Cause you know, like you said, you know, quad was back in like the seventies

531
00:35:08,278 --> 00:35:12,958
and then we had 5.1, which came out, I think in like the late eighties,

532
00:35:12,958 --> 00:35:13,998
early nineties, I think.

533
00:35:14,178 --> 00:35:16,818
I'm trying to remember the dates when that started kind of. Yeah.

534
00:35:16,898 --> 00:35:18,398
No, that sounds about right. Yeah.

535
00:35:18,638 --> 00:35:22,378
And now we have this Atmos. And for listeners out there, if you're not sure

536
00:35:22,378 --> 00:35:25,738
what Atmos is, it's, I think it's up to nine speakers.

537
00:35:25,878 --> 00:35:29,658
I think it's like, what, two basses? And then you have ones above you,

538
00:35:29,698 --> 00:35:32,458
behind you, and in front of you, if I remember correctly how that sounds.

539
00:35:32,458 --> 00:35:37,258
Yeah. I mean, from my understanding, it can be like up to 128 speakers because

540
00:35:37,258 --> 00:35:39,038
like then Atmos mixes it.

541
00:35:39,058 --> 00:35:43,058
Basically, the theaters will use the same file as we would.

542
00:35:43,138 --> 00:35:47,298
So to mix in it, they recommend having at least because like the,

543
00:35:47,338 --> 00:35:51,478
you know, and I'm saying this for the people who have, you know,

544
00:35:51,498 --> 00:35:53,578
no, no experience or. Right.

545
00:35:53,798 --> 00:35:57,418
No prior knowledge. Like, yeah, you're 5.1 set up, which like,

546
00:35:57,498 --> 00:36:00,758
you know, a couple of my uncles had a couple of my buddies had in their basement,

547
00:36:00,798 --> 00:36:06,438
but nobody really used it for music because, you know, one,

548
00:36:06,618 --> 00:36:11,958
a lot of people don't sit still that long, you know, and like listen to an album. Right.

549
00:36:12,078 --> 00:36:17,478
And two, you had to buy the SACD or the DVD audio. audio. So another reason

550
00:36:17,478 --> 00:36:20,878
I think Atmos is going to survive is like right now, if you have iTunes or Spotify

551
00:36:20,878 --> 00:36:24,398
or Tidal, you can just go in and switch it to Atmos. And if you have like the.

552
00:36:25,258 --> 00:36:28,218
The apple earbuds the pro the newest ones yeah

553
00:36:28,218 --> 00:36:31,158
yeah then you can turn on immersive audio and

554
00:36:31,158 --> 00:36:35,538
like if you move your head the mix stays in front of you right you know and

555
00:36:35,538 --> 00:36:40,638
and that's pretty cool and just the the 5.1 was like you know left center right

556
00:36:40,638 --> 00:36:45,778
right rear left rear point one is your low frequency so that adds another point

557
00:36:45,778 --> 00:36:50,198
so whatever's after that the third number is your ceiling link firings.

558
00:36:50,598 --> 00:36:56,038
So for mixing, they recommend at least 7.1, 0.4.

559
00:36:56,398 --> 00:36:59,818
So in addition to the left, center, right, rear, right, rear,

560
00:36:59,878 --> 00:37:03,778
left, you'll also have two lateral channels about at your ear, a little bit behind you.

561
00:37:03,998 --> 00:37:11,018
And you can either have one sub or two, so 0.1 or 0.2, either a sub on each side or just the one.

562
00:37:11,238 --> 00:37:14,818
And then 0.4, so you have two in

563
00:37:14,818 --> 00:37:18,038
front of you on the ceiling and two behind you on the ceiling but you

564
00:37:18,038 --> 00:37:22,098
know i mean you can have 9.2.6 or

565
00:37:22,098 --> 00:37:26,778
you know a hundred point whatever the theaters are they i think they have up

566
00:37:26,778 --> 00:37:32,238
to 128 speakers is what the the theater mix will get and that's not even a different

567
00:37:32,238 --> 00:37:36,458
file which is the coolest thing to me right because it just copulates itself

568
00:37:36,458 --> 00:37:41,298
down into whatever format you're listening to from From mono to big explosive,

569
00:37:41,498 --> 00:37:44,118
like you said, theater type stuff. Yeah, exactly.

570
00:37:44,418 --> 00:37:46,818
And that is what also...

571
00:37:47,728 --> 00:37:50,628
You know, the reason I think it's going to survive is you don't have to then

572
00:37:50,628 --> 00:37:52,468
go rebuy your music catalog.

573
00:37:52,588 --> 00:37:55,748
You just click a button in wherever you listen to music already.

574
00:37:55,848 --> 00:37:58,768
And it's like, oh, boom, Atmos Mix. Cool. Done. Right. Right.

575
00:37:58,988 --> 00:38:03,728
Cool. Yeah. So the future of technology is going to be an interesting journey

576
00:38:03,728 --> 00:38:06,248
over the next, I think, decade to two decades.

577
00:38:06,428 --> 00:38:09,148
It's going to be interesting to see what's going to happen with all that kind

578
00:38:09,148 --> 00:38:12,148
of stuff, you know, because they might even start putting that stuff in your,

579
00:38:12,228 --> 00:38:15,028
you know, your cars and stuff, some kind of Atmos type thing who

580
00:38:15,028 --> 00:38:17,988
knows i think tesla is maybe either has

581
00:38:17,988 --> 00:38:21,028
done it or is you know teasing the fact because

582
00:38:21,028 --> 00:38:25,408
i mean what you know you're already in a surround environment

583
00:38:25,408 --> 00:38:28,588
you know with the speakers around you they just initially is

584
00:38:28,588 --> 00:38:32,108
like everything on the left plays one thing everything on the right plays another

585
00:38:32,108 --> 00:38:37,588
but you know if they just route it different then i'm pretty sure uh the tesla

586
00:38:37,588 --> 00:38:42,528
is going to be you know having the atmos compatible so yeah they're going to

587
00:38:42,528 --> 00:38:48,188
bring the a car mix to a a whole new level huh right exactly check my mix in the car.

588
00:38:49,748 --> 00:38:53,508
Is there anything else we haven't talked about that you think that you'd like

589
00:38:53,508 --> 00:38:58,628
to listeners to know about shoot i feel like i've been just tangenting the whole

590
00:38:58,628 --> 00:39:04,888
time i know man i i think uh you know you covered a bunch of it just you know uh i i want to,

591
00:39:05,628 --> 00:39:08,968
encourage artists who like the studio seems daunting or

592
00:39:08,968 --> 00:39:11,848
you know a lot of people i

593
00:39:11,848 --> 00:39:14,708
reach out to will you know somebody in

594
00:39:14,708 --> 00:39:19,288
the band records them and usually that's like the same guy who will do their

595
00:39:19,288 --> 00:39:25,228
live sound or something and i i don't know how to say this without sounding

596
00:39:25,228 --> 00:39:32,288
like i'm i'm being a jerk i'm saying this from a point of like experience yeah

597
00:39:32,288 --> 00:39:34,188
yeah and like also like like.

598
00:39:35,818 --> 00:39:38,918
For their sake to like realize your music

599
00:39:38,918 --> 00:39:42,498
to the highest quality like i've had messages with

600
00:39:42,498 --> 00:39:45,598
people and they're like well you know we went to a studio and it

601
00:39:45,598 --> 00:39:48,658
sounded the same as the blah blah blah you know

602
00:39:48,658 --> 00:39:51,638
when our bass player records it and it's like well what studio

603
00:39:51,638 --> 00:39:54,758
so then i do a little research and it's like well if they

604
00:39:54,758 --> 00:39:58,878
have like some perception 2020s

605
00:39:58,878 --> 00:40:02,498
and focus right sapphire or

606
00:40:02,498 --> 00:40:05,738
scarlet and your bass player has a

607
00:40:05,738 --> 00:40:08,678
focus right and then like wouldn't it

608
00:40:08,678 --> 00:40:12,178
be weirder if it sounded different right and so i

609
00:40:12,178 --> 00:40:16,478
just i wanted to have an environment that's treated where like the playback

610
00:40:16,478 --> 00:40:21,818
here i'm very happy with how it came out like this sounds better than any any

611
00:40:21,818 --> 00:40:26,298
room to my recollection that we had in school and there was like some pretty

612
00:40:26,298 --> 00:40:31,078
cool setups there and just that allows allows you, whether it's in the recording,

613
00:40:31,238 --> 00:40:35,618
mixing or mastering phase to like, to make decisions.

614
00:40:36,018 --> 00:40:39,998
With, you know, in certain rooms or even rooms that I've had set up initially,

615
00:40:40,198 --> 00:40:44,518
you know, where I'm recording in a closet in my, for the vocal booth and my

616
00:40:44,518 --> 00:40:47,018
speakers are in a corner or one's in a corner.

617
00:40:47,118 --> 00:40:49,638
So I'm getting way more bass from that side. It's like, then.

618
00:40:49,778 --> 00:40:54,778
You know, you neuter it and take out all the 200, 300 Hertz, go play in the car.

619
00:40:54,878 --> 00:40:57,838
And it's like, well, this, you know, know this don't sound

620
00:40:57,838 --> 00:41:00,938
right like you just took all the power out of

621
00:41:00,938 --> 00:41:04,138
it that's why you you did that with your eq right

622
00:41:04,138 --> 00:41:07,318
you know and i'm talking you as in me right i

623
00:41:07,318 --> 00:41:10,158
just you know i tried to set up a place that you know

624
00:41:10,158 --> 00:41:13,898
i feel can be like conducive to creativity and

625
00:41:13,898 --> 00:41:17,038
we're being able to you know make

626
00:41:17,038 --> 00:41:20,718
accurate decisions during all phases of it you

627
00:41:20,718 --> 00:41:23,558
know i feel like it's you know just like building this place like

628
00:41:23,558 --> 00:41:26,358
it's the little things that count and when they they stack up

629
00:41:26,358 --> 00:41:29,458
on each other like being able to hear like the separation in depth

630
00:41:29,458 --> 00:41:32,858
and i i had a lot of trouble before this

631
00:41:32,858 --> 00:41:35,698
room like getting reverb to sound right you

632
00:41:35,698 --> 00:41:38,478
know too little too much and i i kind of

633
00:41:38,478 --> 00:41:42,338
i think i cracked the egg here in when

634
00:41:42,338 --> 00:41:45,118
i would go to add reverb before you know

635
00:41:45,118 --> 00:41:48,358
you're putting on a fake reverb onto a sound that was probably

636
00:41:48,358 --> 00:41:51,318
recorded in a room that wasn't treated so that sound

637
00:41:51,318 --> 00:41:53,998
has a lot out a reverb then i'm adding a fake reverb in my

638
00:41:53,998 --> 00:41:57,158
speakers pumping that out into my drywall room which

639
00:41:57,158 --> 00:42:00,058
is then exciting the room so you're hearing like

640
00:42:00,058 --> 00:42:05,878
three reverbs only one of them is there where you know this here having it so

641
00:42:05,878 --> 00:42:14,438
so tight in here is like i i'm confident in adding spatial effects and things

642
00:42:14,438 --> 00:42:19,678
like that you know that is like this this is gonna translate and yeah you You know,

643
00:42:19,738 --> 00:42:22,358
I just, even though the live room isn't done.

644
00:42:22,438 --> 00:42:25,198
I've been having a lot of bands in to just come check the place out.

645
00:42:25,318 --> 00:42:28,358
Listen to some tunes, and it, you know...

646
00:42:29,778 --> 00:42:32,698
It makes me feel good when people are like, I've listened to this song for 15

647
00:42:32,698 --> 00:42:35,258
years. I never heard that organ part on that third chorus.

648
00:42:35,418 --> 00:42:39,498
You know, it's like, I'm like, oh, that's awesome. I love that.

649
00:42:39,558 --> 00:42:43,098
Because when that happens to me, I'm like, you know, I get goosebumps and stuff.

650
00:42:43,338 --> 00:42:47,278
And so I've just been trying to have people come in here and kind of get the

651
00:42:47,278 --> 00:42:49,618
vibe. And, you know, it might not be for everybody.

652
00:42:49,778 --> 00:42:53,998
And like I said, I have good relationships with all the other area studios.

653
00:42:54,218 --> 00:42:59,038
I either worked with them, still work with them, you know, still conversate

654
00:42:59,038 --> 00:43:03,158
with them. Like, you know, it's try to help each other out and be in the,

655
00:43:03,278 --> 00:43:07,278
not the scarcity mindset, you know, be in the blue sea, not the red one.

656
00:43:07,418 --> 00:43:08,598
Right. Exactly. Exactly.

657
00:43:08,758 --> 00:43:12,338
Where can people find you out in the inter web areas?

658
00:43:12,758 --> 00:43:17,778
Well, Hollywood.com is the website. And then like the Instagram and Facebook

659
00:43:17,778 --> 00:43:19,658
are Hollywood recording company.

660
00:43:19,878 --> 00:43:26,258
So I know that can be a mouthful, but yeah, H-A-L-L-I-E-W-O-O-D like Hollywood,

661
00:43:26,278 --> 00:43:29,258
but Hollywood and then recording company. Gotcha.

662
00:43:29,658 --> 00:43:33,058
And I'll put that all in the show details as well.

663
00:43:33,238 --> 00:43:36,178
So Jordan, thank you so much for being on the Wisconsin Music Podcast.

664
00:43:36,318 --> 00:43:41,278
It was a lot of information, positive and great learning things and tips and

665
00:43:41,278 --> 00:43:42,958
all that other great stuff coming from you.

666
00:43:43,018 --> 00:43:46,658
So thank you so much for being on the show. Well, man, I appreciate you having

667
00:43:46,658 --> 00:43:50,878
me and I appreciate what you're doing for, you know, for the community as far

668
00:43:50,878 --> 00:43:52,718
as engineers, venues, artists.

669
00:43:52,938 --> 00:43:58,398
It's super cool. And yeah, I appreciate your time and all the time you put in

670
00:43:58,398 --> 00:44:01,798
after hours as well to make this happen, man.

671
00:44:01,878 --> 00:44:04,618
I know it's not easy. Thanks. Thank you so much.

672
00:44:06,638 --> 00:44:09,418
Well thanks again for tuning in to another episode of

673
00:44:09,418 --> 00:44:12,258
the wisconsin music podcast once again i'm zach fell your

674
00:44:12,258 --> 00:44:14,958
host and creator of the wisconsin music podcast where i

675
00:44:14,958 --> 00:44:19,838
love to amplify the great sounds coming out of the wisconsin state we have great

676
00:44:19,838 --> 00:44:26,078
talent here great support great listeners thanks to fox city's indie radio for

677
00:44:26,078 --> 00:44:30,278
syndicating this on wednesdays and sundays along with their other great programmers

678
00:44:30,278 --> 00:44:34,698
so make sure you check out the fox city's indie radio and thanks to this This week's guest,

679
00:44:34,878 --> 00:44:39,558
Jordan Hoversholm of Hayley Wood Recording Studios, for being on this week's episode.

680
00:44:39,838 --> 00:44:44,658
If you'd like to be on the show, just go to wisconsinmusicpodcast.com,

681
00:44:44,718 --> 00:44:47,938
fill out the guest request form up at the top.

682
00:44:47,978 --> 00:44:52,298
Ask for your email and your name, and then I'll send you an auto email asking

683
00:44:52,298 --> 00:44:53,418
you for more information.

684
00:44:53,698 --> 00:44:57,878
If you are enjoying these episodes, please consider donating to the Wisconsin Music Podcast.

685
00:44:57,878 --> 00:45:00,638
Podcast donations help pay for the website and putting

686
00:45:00,638 --> 00:45:05,258
the podcast up on streaming services and also getting our name out there to

687
00:45:05,258 --> 00:45:09,198
all wisconsinites and others that are interested in our great music here in

688
00:45:09,198 --> 00:45:13,758
wisconsin donations are secured through paypal and stripe all you have to do

689
00:45:13,758 --> 00:45:18,878
is go to the website and click on donate to wmp once again thanks for tuning

690
00:45:18,878 --> 00:45:20,178
in and we'll see you next week.

 

WMP#133: Unveiling the Passion of The Now Band with Michael Rossa*

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 133
Michael Rossa of THE NOW

WMP Linktree: https://linktr.ee/WI_Music_Podcast

THE NOW LINKS:

Website:

www.thenowband.com

Facebook: @thenowband

Instagram: @thenowband

Youtube: @thenowbandmilwaukee

Welcome to another episode of Wisconsin Music Podcast! This week, we delve into the world of live bands with Michael Rosa from the renowned group The Now. Rosa candidly shares his journey from being a drummer of a country cover band to becoming a vocal performer and guitarist for The Now. He provides valuable insights into the challenges and rewards of leading a band and taking up managerial duties.

Take an illuminating peek into the local music scene in Wisconsin, as Rosa discusses the opportunities and issues his band has encountered over the past two decades. Discover the nuances of performing live gigs, the pressure of staying relevant in an increasingly saturated music scene, and the immense joy of resonating with the audience.

We also explore The Now's unique recording technique for self-improvement and meticulous rehearsal process. Despite their classic 80s rock band roots, Rosa reveals how their expansive repertoire has evolved to include country and 90s music, an integral part of their success grounded in their intense audience connection and belief in their material.

The episode also underscores the immense appreciation The Now has for their audience, their commitment to studying each song they perform to perfection, and their undying passion for delivering the best show irrespective of industry competition. This insightful conversation offers a comprehensive understanding of a band's struggles and journey in the dynamic music industry.

Explore the fragile yet exhilarating experience of successfully performing on a huge stage, the profound impact it has on musicians and audiences alike, and the inherent challenges of maintaining work-life balance in the fast-paced world of music. Finally, delight in Rosa's account of the band's recent addition of a female vocalist which has enriched their musicality and allowed them to connect with an even broader audience.

Whether you're an aspiring artist, a seasoned musician, or just a music lover, this episode offers a deep dive into the art of live performances. Tune in to gain an insider's perspective on the intersection of musician and audience that makes music not just sounds, but an exquisite art form.

------------------------------------------------------

Transcript:

1
00:00:00,000 --> 00:00:10,160
Welcome.............. to the Wisconsin Music Podcast.

2
00:00:10,004 --> 00:00:15,224
Here to introduce you to the great musicians and music businesses and organizations of Wisconsin.

3
00:00:17,404 --> 00:00:22,504
Welcome to the Wisconsin Music Podcast. This week we have Michael Rosa from the group The Now.

4
00:00:22,704 --> 00:00:26,704
And he's going to talk about his musical origin stories, how they're pretty

5
00:00:26,704 --> 00:00:27,864
much a self-booked band.

6
00:00:28,164 --> 00:00:31,604
They get about almost like 95% booking their own cells.

7
00:00:31,764 --> 00:00:35,564
They have a new singer into the group about after 10 years. So with all that

8
00:00:35,564 --> 00:00:39,304
information and more to come, Michael, welcome to the Wisconsin Music Podcast.

9
00:00:40,004 --> 00:00:42,724
Thanks for having me. So like I said in the little intro there,

10
00:00:42,764 --> 00:00:45,164
why don't you kind of give the listeners your music origin story.

11
00:00:45,264 --> 00:00:49,144
How did you get started in music and kind of what led you to where you are today?

12
00:00:49,664 --> 00:00:54,744
Well, the way I got started in music was playing drums and filling in for a

13
00:00:54,744 --> 00:00:58,984
cover band called the Nashville Rejects, which was an all-country band years and years and years ago.

14
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But that's where I got started, playing drums with them, filling in once in a while on stage.

15
00:01:04,004 --> 00:01:09,404
And then it turned into me kind of picking up the guitar and learning how to sing.

16
00:01:10,124 --> 00:01:15,104
And spent my time doing some original material back in the 90s,

17
00:01:15,104 --> 00:01:19,744
but then also transitioned to the cover band scene at the early 90s,

18
00:01:19,744 --> 00:01:21,504
93, 94, around that area.

19
00:01:21,764 --> 00:01:27,824
And pretty much took off from there. And I've been playing in the now for 18 years.

20
00:01:28,504 --> 00:01:32,824
And the band's been around for about 19 years. So I joined about a year after

21
00:01:32,824 --> 00:01:35,204
the band was already in existence.

22
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And I'm still here today, 18 years later. I manage the band.

23
00:01:39,084 --> 00:01:42,824
I book the band, and I'm also the guitar player.

24
00:01:43,664 --> 00:01:49,584
That's great info. And so since you are basically kind of in charge of the group,

25
00:01:49,744 --> 00:01:54,664
kind of give the listeners an idea of what it's like running the band from your position.

26
00:01:55,064 --> 00:01:59,844
Sure. I mean, obviously, it's a lot of being in the cover band.

27
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In this market, cover bands are pretty much king.

28
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They've been pretty much king for many, many years.

29
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Right. And there's a reason for that. It's just what sells in this market.

30
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But being in a cover band for as long as I have and handling the managerial

31
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duties and being the band leader, it takes a lot of time.

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There's a lot of time that goes into it when you're not on stage and when you're not at the show.

33
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There's a lot of time that goes into preparing the band, booking the band,

34
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making all the contacts, doing all the contracting, calling to secure shows,

35
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set up shows, organize the shows.

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And then of course, organizing rehearsals and putting that all together.

37
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So as the band leader and manager, that's all under one hat, so to speak.

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So you do tend to work a lot of off hours that you put into it that people don't see.

39
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There's a lot of stuff that people don't see. Even with the cover band,

40
00:02:56,224 --> 00:02:57,324
like a lot of people think, well, you know.

41
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It's a cover band so maybe it's it's it's just as time consuming and just as

42
00:03:03,658 --> 00:03:09,358
you have to put as much effort and passion into being in the cover band as you

43
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would with an original band people don't really see that part of it but especially

44
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with our band we we really try to get the material.

45
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Very close to the original artist because we all have a

46
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very big passion for the material material and so

47
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we want to make sure that the material comes across as good

48
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as we possibly can in order to show reverence to

49
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the material because we we really have a lot of respect and admiration for the

50
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artists that we cover so we do spend a lot of time in rehearsals and spend a

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lot of time as a cover band to try to get things as right as we can just like

52
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an original act would we take that that much pride and passion in what we do.

53
00:03:50,438 --> 00:03:54,338
Yeah. And, you know, difference between, you know, at least to some people I've

54
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talked to, and I kind of feel the same way.

55
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It's like a original band is really a cover band of themselves.

56
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You know, if they record something, they kind of have to put together their

57
00:04:03,978 --> 00:04:06,598
live show and their music as close to the recording.

58
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I mean, they can, you know, change it a little bit here and there,

59
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but same thing with you guys. Everybody knows those songs.

60
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If, if something completely, you know, something's wrong with,

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with the way you're playing that song, people are going to notice that. For sure.

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You will find that a lot of the people in the audience, they know the songs better than you.

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And if you mess up a lyric or if you play something that just doesn't sound

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exactly right, you'll have people that will come up to you, especially if that's their favorite song.

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Song that's you know their favorite song they know that

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song inside and out and the last thing

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people want to see is you'll see

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what the original artists is i think you nailed it

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is that once they record the song they then have

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to go out there and perform that song just like the record or

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as much as they can and a lot of artists fall in

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the trap of the they put a an enormous amount of production

73
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on the recording and then they go out to do

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it live and you realize well we can't really recreate create the actual

75
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sound that we have on the record because we

76
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did a lot of multi-tracking and had a lot of different instruments

77
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that were involved in the recording and now we have to go out and try to recreate that

78
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so they end up doing a lot what we do

79
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is we try to find a way to make the

80
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song sound as close as possible with the

81
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tools that we have live on stage and that's exactly

82
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what an original band would be doing as well exactly and then as a cover band

83
00:05:26,378 --> 00:05:31,598
do you guys do recordings or are you guys not a part of that with your group

84
00:05:31,598 --> 00:05:38,778
with us we've never recorded any material and made it available to the public what we do though.

85
00:05:39,514 --> 00:05:43,674
And I think this is a strength of why we've been successful for as long as we

86
00:05:43,674 --> 00:05:49,434
have, is we record our shows from the front of house mixing board.

87
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And all the band members, we all listen to those recordings.

88
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And then we are basically critiquing and working on a constant improvement to

89
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how to make these songs better.

90
00:06:01,614 --> 00:06:06,774
If we're not singing in key together in one part or bass player,

91
00:06:06,894 --> 00:06:09,834
bass line, guitar lines, not really together on a certain part,

92
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we hear that in the recordings.

93
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And then when we get into the rehearsal room later that week,

94
00:06:14,574 --> 00:06:19,714
everyone kind of comes to the rehearsal room with a list of notes of things

95
00:06:19,714 --> 00:06:22,034
that they heard in the recording from the live recording.

96
00:06:22,254 --> 00:06:25,834
And, hey, I heard this part, you know, let's go over this part that sounded a little wonky.

97
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So let's, you know, let's try to tighten that up. so we don't

98
00:06:28,794 --> 00:06:31,514
record songs to put out to the public but we

99
00:06:31,514 --> 00:06:34,574
record almost every live show and we listen back

100
00:06:34,574 --> 00:06:37,534
to almost every live show and and and

101
00:06:37,534 --> 00:06:40,514
self-evaluate where we're at as as even as

102
00:06:40,514 --> 00:06:44,794
a cover band yeah as a cover band that's that's great everything i think everybody

103
00:06:44,794 --> 00:06:49,534
should do that they should reflect upon a past performance and say what do we

104
00:06:49,534 --> 00:06:53,494
do good what do we need to work on and you know that's how you get better you

105
00:06:53,494 --> 00:06:57,554
can't just you can't rely on your memory all the time because you have a different

106
00:06:57,554 --> 00:06:59,534
perspective than what the audience has.

107
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And if you don't hear that other perspective, you're not sure if what you're

108
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doing is what you really thought you were doing up on stage.

109
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100%. 100%. Because when you're in the moment, you're usually performing.

110
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And you're not, you know, you're in this moment that is a completely different...

111
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Type of environment than when you sit down and listen

112
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to the recording because so many times myself or

113
00:07:26,193 --> 00:07:28,933
other band members would would say oh you

114
00:07:28,933 --> 00:07:31,613
know i heard something recording it and i didn't even

115
00:07:31,613 --> 00:07:34,733
know i was doing that right and come

116
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to find out you know oh you're oh you're playing a c there okay

117
00:07:38,213 --> 00:07:41,013
yeah well let me do that run exactly the way you're doing

118
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it i didn't really know that we weren't doing exactly the same

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notes in this little run until i heard

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it in the the recording right so it becomes a

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valuable tool and i think every

122
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cover band original band every musician out

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there should constantly record themselves video

124
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and audio because that is the only way you are going to really get better because

125
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i'll tell you the tape don't doesn't lie no it does not and it's not to say

126
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that you know any of us are perfect by any means you know you're You're going

127
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to have mistakes in the show because we're all human and stuff.

128
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But like I always say is if you make a mistake and it happens once in a while, that's one thing.

129
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If you're making the same mistake every time you play the song,

130
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that's no longer a mistake.

131
00:08:30,093 --> 00:08:34,773
That's a willful decision to not get it right. Right. Exactly. Exactly.

132
00:08:35,613 --> 00:08:39,133
Now, like you said, you've been in this group for almost 20 years.

133
00:08:39,253 --> 00:08:42,693
So you're talking early 2000s. so digital recordings

134
00:08:42,693 --> 00:08:45,693
were just starting out around that time so

135
00:08:45,693 --> 00:08:51,753
were you guys doing like you know like a tape deck or how were you starting

136
00:08:51,753 --> 00:08:55,953
when you first started out how did you record your shows well digital boards

137
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have kind of been around for quite a long time actually been around for quite

138
00:09:00,273 --> 00:09:03,753
a long time and so we've always we started the recording,

139
00:09:04,413 --> 00:09:09,413
live recording of our board mix we started that after the digital recording

140
00:09:09,413 --> 00:09:15,413
was available to us So it's basically a USB thumb drive goes in the board and

141
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takes the recording and then we just dump it out to an MP3 and email it out to everybody.

142
00:09:19,793 --> 00:09:23,833
Nice, nice. Yeah, and that's definitely, like you said, it's a great tool to

143
00:09:23,833 --> 00:09:26,873
double check everything and make sure you're doing it right. Yeah.

144
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Another thing is, what is the local scene like for you guys?

145
00:09:32,541 --> 00:09:35,721
What are the positives and what are some of the struggles you've kind of seen

146
00:09:35,721 --> 00:09:36,721
over the last two decades?

147
00:09:37,641 --> 00:09:42,561
Excellent question, because this could not be a more timely question, too.

148
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The scene, and I've been with this band almost 20 years, and I've been playing

149
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in cover bands for well over 30.

150
00:09:48,541 --> 00:09:57,461
And what I've seen recently is there's an enormous amount of saturation in the cover band scene.

151
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Not only do you have a saturation of bands, so there's so many bands out there,

152
00:10:04,681 --> 00:10:06,921
duos, trios, single guys,

153
00:10:07,301 --> 00:10:13,561
four-piece, five-piece, all these full bands, but there's also an oversaturation of venues.

154
00:10:13,561 --> 00:10:16,741
Venues so years ago if you

155
00:10:16,741 --> 00:10:19,681
were playing in the summer which is our heaviest season

156
00:10:19,681 --> 00:10:22,341
the outdoor festival season if you played a

157
00:10:22,341 --> 00:10:25,281
third weekend on in june you might

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have had one or two festivals that had live

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music for live music lovers to go see right now on that third weekend of june

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you have those two main festivals but you also have everybody and their brother

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who owns a bar and can and build a patio with some plywood is going to have

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a duo or a trio or even a small band,

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a smaller, you know, four piece band with a smaller setup.

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And so now you're in this competition of not only there's so many bands out

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there, but there's also so many venues out there.

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So if you're the band who's playing one of those festivals on that third weekend

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in June, whereas in the past, you were pretty much guaranteed to have a pretty

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large crowd at your festival.

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Now you're spreading the draw out amongst that festival and seven different bars.

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So if you're playing in Waukesha at a festival, well, I can tell you right now,

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there's six or seven bars in Waukesha that have live music.

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And some people don't like to be in big crowds. So they're going to choose that

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smaller venue environment because they don't like the big crowd. Right, right.

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So you find yourself having to work even harder now.

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Like a band like us, even though we've been around 18 years,

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there's no letting up on the gas pedal for us.

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We're not a band that's going to sit around or even has the ability to sit around

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and just rest on the fact that we've been around 18 years. I mean,

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we still got a pound of pavement.

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We still have to go out there and be hungry and try to get every show that we

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possibly can, because there's five other bands that just started.

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They'll willfully take that spot from you at much less money.

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Right, right, right. Yeah. And then.

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And, you know, from, from different perspectives, some people are going to say

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they like that spread out where they can go and see different bands on a weekend.

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Maybe they'll go to two different or three different bars and see a couple of different bands.

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So in a way that's a positive, because you're trying to grow the music scene

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in Wisconsin, but then, like you said, there are bands out there that are,

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they'll willfully take your spot, you know, in a heartbeat because there's so many of them out there.

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It's getting, like you said, saturated. Yeah, it's great for the consumer.

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It could not be a better time for the live music consumer right now in this

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market because there's so much good talent out there.

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Down to a single solo guy who's just amazing to a two-piece.

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Three-piece, full band, large production bands like we put on and our peers put on.

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So if you're a live music consumer this

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is the time of your life right now because it's

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just so much going on and you know exactly

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and six five six days a week there's venues that

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have live music five days a week yep you

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know yeah i mean those are all positives for

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the consumer yes um challenges for the

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for the artist but at the same

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time i i think it's bringing more live music

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fans out to these events yes but it

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is it is spreading the the audience

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out amongst you know the days are

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over when you play it like i say you play a

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festival and you just know it's going to be packed those

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days are over it it's going to be it'll be a good

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show if you're a quality act but it ain't

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going to be insane like it used to be right right so you've

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been doing this for like you said almost you know two decades what

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trying to think of the best

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way to say this is as a

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okay now i know what i

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was going to say what is a consumer or a an audience member going to experience

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when they come and see your show so let me let me say that again what is what

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is the audience going to expect when they go see the now at a show the number

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one thing that i think that we have going for us.

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And this may seem trivial to some, but it's two parts of this coin.

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The one part of it is that everybody in the band has a deep connection.

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Passion and reverence for the material we're not

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up there i see a lot of bands go up there and

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you can just tell they can't stand the material they're

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playing because they look like they want to be anywhere but

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being on that stage playing that song our band's

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not like that we we choose material that not only

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fits our our our market genre on where what

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we're trying to perform in front of people but we also choose

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material that we really really enjoy playing so

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i think when people come come to see us i've had people come up

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and actually say to us we can really

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tell that you really really believe in this material and and so that comes off

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and you can't fake that to an audience like you either really like the material

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or you don't and i think when when you have that showing to the audience that's

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an important part because they feel that way about the song.

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So this could be a song that hit them really hard in high school,

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got them through a tough time, got them through something really dark in their

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life. And this song just really speaks to them.

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And so when they see you feeling that the way they feel that now you have this

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connection between the people in the audience and the people on the stage.

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And that's the second side of the coin that I speak about with us is we're very approachable.

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We spend time talking with people and hanging out with people and we're very approachable.

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So we spend a lot of time trying to make a connection.

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With people and getting to know the people that come to see us on a regular

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basis, because we want to have that type of relationship where it's not just

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you're on the stage, we're down here and it's two separate people.

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Like we want them to feel like we really, really, really have this,

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this familial connection with them.

250
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And I think that people get that from our show.

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Good, good. That's because that's what people want to do. When they go out and

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see a band, they want to feel connected to however the song or the people on stage or a mixer or both.

253
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If they don't get that, then they're not going to enjoy their time being where you're performing.

254
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Absolutely. And I've seen bands that take their break and you don't see them

255
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on the break. You don't see them after the show. You don't see them before the show.

256
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And nobody in our band has ever felt that way.

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Everyone has a deep love for the people that come see us because at the end

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of the day, getting back to my earlier point, there's a million other places

259
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any of these people in the audience could be, but they're choosing to come to see you.

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And if you don't appreciate that and if you don't respect that and let them

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know that you appreciate that, they have plenty of other places to go.

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Absolutely. Absolutely. Absolutely. And for new fans or new possible fans coming

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to see you, what kind of music are you guys kind of putting out there for them?

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Well, we've always been an 80s rock, classic rock band.

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We've been that way for 18 years. This year, when we picked up our new lead vocalist, Jeanette.

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It allowed us, we started doing country about a year, about a year or two ago.

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We threw it, sprinkled in a little bit of country, still doing the base of our

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materials class is 80s rock.

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And then we sprinkled in a little bit of country. Now we're sprinkling in a

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little bit of 90s, you know, stuff like No Doubt and Pink and stuff like that.

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So we're throwing in a little bit of top 40 stuff now with Jeanette at the lead vocal position.

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And so it's really allowed us to expand our material more than we ever had before.

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Before we were strictly 80s material gotcha and

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so 80s had a lot of different sub genres

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in rock where do you guys kind of fall in like

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what kind of bands would you say you cover for

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us it's you know it's basically journey you know a little bit of poison you

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know stuff in that nature that's that's where we've always been Def Leppard

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and things like Bon Jovi stuff like that's where That's where we've always been for many, many years.

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So we're pretty much into that. But with Jeanette coming in,

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we're able to do some Blondie.

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You know, we're able to do some other things in still in the 80s genre.

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That is, you know, Pat Benatar, you know, stuff like that.

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Joan Jett. We do stuff like that. So we're able to kind of spread it out amongst

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that 80s. But it's all that 80s rock and roll material. You know,

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it's all uptempo material.

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We don't do a lot of slow material songs. We try to keep everything, you know, high energy.

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Gotcha. Cool. Yeah. That sounds like a great time. I mean, there's a lot of

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people out there that are from that generation that want to go and hear that

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stuff, especially when some of those bands aren't around anymore performing.

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So they, you know, they get that second dose from you guys.

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And another thing is that for me as a high school band director,

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I see these young kids there to them. These are like the oldies to them.

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And it's like, they're kind of like into this stuff because they're,

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today's music for them might not be what they're looking for,

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but the stuff that they're, you know, uncles or, you know, grandparents or even,

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you know, older, if they have older parents, that's the kind of stuff that they

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were listening to when they were younger.

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Now they get to go out there and kind of dabble in that when they start getting

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to that age where they can start going and seeing live music.

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Absolutely. Obviously our material bodes well for the,

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you know, 35 plus age, age

303
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but i cannot tell you when when

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summertime comes and we're able to play places that are open

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to all ages the first three four rows there

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is a lot of teenagers and

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young adults in that in an audience we just

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had we just did a couple a show a couple

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of weeks ago and there was this group of four young males probably

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18 ish okay and

311
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they were just rocking out in the front row they ended up coming to the

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next two or three shows wonderful you know

313
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that's excellent so it does span the

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audience because all of the material we play to it are very

315
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big hits so we're not playing like the deep cut from guns

316
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and roses we're playing sweet child of mine we're not playing the deep cut from

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your journey we're playing don't stop believing stone and love and

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things like that so right these are things that they've heard before

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like you said from their their parents and guitar hero it

320
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was a big bridge yeah

321
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that bridged the younger generation to allow this material twisted sister montley

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crew all that stuff guitar hero was a big bridge for that absolutely absolutely

323
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now i know you guys we talked about recording you know your shows and like that

324
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so that's you know we're kind of past that but when.

325
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I'm trying to look at my questions here because I want a specific question here for you.

326
00:21:29,072 --> 00:21:34,212
When you're building these songs to play out live, like you grab some new ones

327
00:21:34,212 --> 00:21:38,792
or whatever, do you really like study the recordings, you know,

328
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like, you know, where that guitar part came in and that little guitar part that only comes in once?

329
00:21:44,072 --> 00:21:47,632
I mean, are you really trying to get every little aspect or are you more like

330
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grabbing the main things and then trying to do, like you said earlier,

331
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just get the best performance you can with what you have?

332
00:21:54,932 --> 00:21:57,872
We are a band that tries to get it as close to the record as absolutely possible.

333
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So we are going to dissect every little tiny little minute detail of the material.

334
00:22:03,252 --> 00:22:05,732
And we do that for two reasons.

335
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One, it goes back to having a respect for the person who recorded the song.

336
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I would never embellish Slash's solo in Sweet Child of Mine.

337
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Because to me that would be

338
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not showing the respect of how

339
00:22:24,292 --> 00:22:27,392
beautiful that solo is and how perfect in

340
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every way that solo is so if i was to add my own

341
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little thing for me personally and other guys can go out there and play it differently

342
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but for me and for the band i've always ran the band that i want to get this

343
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to show respect to the artists and they've done all the hard work for you they

344
00:22:43,412 --> 00:22:47,732
went in the studio and figured out what notes worked right what drum beat you know, worked right.

345
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And what vocal and what harmonies worked right so they've done

346
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all that hard work and they came up with the magic on their

347
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own so who are we who are who

348
00:22:57,612 --> 00:23:00,392
are we to say oh well no we should be doing it

349
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this way and we should do it this way and i should play the drums this way and

350
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i just want to you know play drum fills everywhere and it's

351
00:23:06,272 --> 00:23:09,692
like you know ringo star you know he played

352
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the beat a certain way like i don't you know i don't think

353
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you need to be doing double kick drum fills in there right it's

354
00:23:17,252 --> 00:23:20,292
like it's just it's the beauty of what they recorded so

355
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so that's what we do we go in we we pick the songs and

356
00:23:24,112 --> 00:23:27,352
then we everyone learns their parts they just we dissect it everyone

357
00:23:27,352 --> 00:23:30,912
comes in a rehearsal room we run through it and most

358
00:23:30,912 --> 00:23:33,772
times we run through it two or three times and it's ready to

359
00:23:33,772 --> 00:23:36,672
go because everyone really in this band they do their homework so

360
00:23:36,672 --> 00:23:40,232
we don't spend a lot wasted time in the

361
00:23:40,232 --> 00:23:44,132
rehearsal room everyone is responsible to do their homework work on their own

362
00:23:44,132 --> 00:23:47,412
show up on rehearsal and let's just run through it a few times and tighten up

363
00:23:47,412 --> 00:23:52,612
a few bolts exactly exactly do you also record your your your rehearsals as

364
00:23:52,612 --> 00:23:57,452
well no we have we have never done that but we you know we've been known to

365
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run you know run over a song 12 times.

366
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Well you got to do what you got to do right right and

367
00:24:05,092 --> 00:24:07,732
and it's you know going back to a

368
00:24:07,732 --> 00:24:11,972
point you made earlier about the live performance you can play it as perfect

369
00:24:11,972 --> 00:24:16,852
as you want in the rehearsal room that that will never translate to live no

370
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because a live performance is worth four or five rehearsals because you're just

371
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standing there you're focusing you're not looking at you know,

372
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something grabbing your attention in the front row so you're not distracted

373
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in rehearsal so it's very easy to play the songs very well in rehearsal once

374
00:24:34,372 --> 00:24:37,512
you get on the live stage though you know that's Sometimes where you hear things

375
00:24:37,512 --> 00:24:40,472
that you didn't really hear as well, especially with the recording,

376
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because you can listen in rehearsal all you want, but in the recording,

377
00:24:45,792 --> 00:24:49,412
you can sit down and just listen and not play. You're not playing along.

378
00:24:49,532 --> 00:24:52,892
And that's where things really stick out to you. Exactly. Cool. Cool.

379
00:24:54,479 --> 00:24:57,859
What was a gig that made the biggest impression on you?

380
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Could it be either as a performer or as an audience member, or you could talk about both?

381
00:25:03,599 --> 00:25:08,239
I'll give you two examples. People ask me a lot if I ever get nervous before shows, and I don't.

382
00:25:08,539 --> 00:25:13,959
I've been playing for so long. But the last time I was nervous was I was early on in this band.

383
00:25:14,459 --> 00:25:20,359
I think it was my first year playing with them. And we opened for Loverboy in Oshkosh.

384
00:25:20,519 --> 00:25:27,659
Okay. And I was backstage meeting the band members and that wasn't very nerve wracking for me.

385
00:25:27,739 --> 00:25:30,999
But as soon as I stepped out on the stage to do the opening slot and looked

386
00:25:30,999 --> 00:25:34,019
out and saw it was about 4000 people there.

387
00:25:34,139 --> 00:25:40,199
And that's when it really hit me pretty hard that this is this is something pretty huge.

388
00:25:40,299 --> 00:25:44,099
And then, yeah, I fumbled my way through the first couple of songs until I get

389
00:25:44,099 --> 00:25:46,479
my sea legs underneath me. Right, right, right.

390
00:25:46,599 --> 00:25:49,839
Cool. cool the other one i would probably mention is like

391
00:25:49,839 --> 00:25:52,719
i said being everybody in this band is a fan of

392
00:25:52,719 --> 00:25:55,639
music so when we see people in the front row getting emotional and

393
00:25:55,639 --> 00:25:58,519
whooping it up and getting super excited we know

394
00:25:58,519 --> 00:26:01,979
what that's like because we're the same way we go

395
00:26:01,979 --> 00:26:04,939
to see live music and and we talk about other bands

396
00:26:04,939 --> 00:26:07,739
and other songs oh listen to this one part this oh listen how

397
00:26:07,739 --> 00:26:10,539
beautiful this one little part is here we do stuff

398
00:26:10,539 --> 00:26:13,939
like that too and years ago i was uh i

399
00:26:13,939 --> 00:26:16,659
was at at a venue in madison and john

400
00:26:16,659 --> 00:26:19,459
mayer was playing it was on valentine's day forget what venue it

401
00:26:19,459 --> 00:26:22,659
was but it was valentine valentine's day show okay and

402
00:26:22,659 --> 00:26:25,379
i was going through some stuff in my life at that time and i was

403
00:26:25,379 --> 00:26:28,859
sitting in the audience and he was he was going through gravity and

404
00:26:28,859 --> 00:26:32,719
i've never seen him play gravity and i watched a lot of live videos on youtube

405
00:26:32,719 --> 00:26:37,319
i've never seen him play it like he played it this night and i was standing

406
00:26:37,319 --> 00:26:43,059
there just bawling away just bawling Just bawling for what he was doing on stage

407
00:26:43,059 --> 00:26:46,479
and the passion he was doing and the stuff I had going on in my life.

408
00:26:47,078 --> 00:26:51,798
That song was just speaking to me at that time, and I'll never forget that day.

409
00:26:52,218 --> 00:26:56,578
Wonderful. I think we've all had that experience where you're just in a certain

410
00:26:56,578 --> 00:27:02,258
mindset and a certain song just hits you a certain way, and it just makes a mark on your memory.

411
00:27:02,998 --> 00:27:06,358
Right. That's why a lot of people have their favorite songs,

412
00:27:06,598 --> 00:27:11,458
because I remember graduating high school and this song was popular.

413
00:27:11,838 --> 00:27:17,098
Still today, I was listening to an older Bon Jovi record, And when the songs

414
00:27:17,098 --> 00:27:23,118
came on, immediately, all kinds of images and memories popped into my head just

415
00:27:23,118 --> 00:27:25,958
hearing the music from those songs.

416
00:27:26,618 --> 00:27:30,898
And so I think you have to be respectful of that in the audience rather than

417
00:27:30,898 --> 00:27:33,238
just getting up there and saying, well, we're just going to throw these songs

418
00:27:33,238 --> 00:27:34,278
out to you and we're just going to have fun.

419
00:27:34,318 --> 00:27:36,998
We're going to collect our big check and we're going to go home and everyone's going to be happy.

420
00:27:37,998 --> 00:27:42,278
For us, it's really about the passion of the material. It really is.

421
00:27:43,458 --> 00:27:46,498
Yeah it has to be because you know what

422
00:27:46,498 --> 00:27:50,278
what we do it for the music or at least you we hope that people mostly do it

423
00:27:50,278 --> 00:27:56,458
for just the music you do and i mean we've had we've had venues that we've played

424
00:27:56,458 --> 00:28:03,838
in the past where the money wasn't there but it's always a great crowd and you

425
00:28:03,838 --> 00:28:06,358
love those shows yeah and then we've had places where.

426
00:28:07,721 --> 00:28:10,401
The money wasn't there and there was really not a great crowd.

427
00:28:10,581 --> 00:28:16,581
And it's like, yeah, it's a gig or the money is there and it's not a great crowd.

428
00:28:16,701 --> 00:28:19,401
And it's like, I don't really know if I want to, I'm not really doing this for

429
00:28:19,401 --> 00:28:22,281
the money. Like I'm doing this to have a connection with people.

430
00:28:22,341 --> 00:28:25,281
I want to have a connection with an audience.

431
00:28:25,321 --> 00:28:30,941
And if there's no audience there, it's very hard to, to go home feeling like

432
00:28:30,941 --> 00:28:33,701
you connected on a musical level with someone.

433
00:28:33,801 --> 00:28:36,681
I used to do acoustic shows for a while and I

434
00:28:36,681 --> 00:28:39,721
stopped doing them years ago because you're just

435
00:28:39,721 --> 00:28:42,541
background music me and the original drummer

436
00:28:42,541 --> 00:28:45,321
of the band we did an acoustic show one time

437
00:28:45,321 --> 00:28:50,401
and we did the whole show and no one applauded for not one song the whole show

438
00:28:50,401 --> 00:28:55,241
it was and it would they would and then the bar wanted us back oh he's like

439
00:28:55,241 --> 00:28:59,301
everyone loved you and I'm like everyone loved us they never applauded at all

440
00:28:59,301 --> 00:29:02,961
they didn't even look at us half the time he's like no everyone said you guys were great Right.

441
00:29:03,561 --> 00:29:08,121
And that was a hard thing to do, you know? Yeah. I can imagine. Definitely. Yeah.

442
00:29:08,521 --> 00:29:12,061
You need that, that physical, emotional feedback from the audience.

443
00:29:12,141 --> 00:29:15,461
Cause when the audience is energetic, that gets you energetic and then you're

444
00:29:15,461 --> 00:29:16,501
feeding off their energy.

445
00:29:16,561 --> 00:29:20,341
And if you don't have that energy coming back at you, it's very difficult. Exactly. Exactly.

446
00:29:20,941 --> 00:29:26,761
As, as I wrap this up, what is for you, the solution of work-life balance with this?

447
00:29:28,581 --> 00:29:32,321
That is the age-old question and

448
00:29:32,321 --> 00:29:35,101
yeah anyone who has a family that's that's that's

449
00:29:35,101 --> 00:29:38,041
the tough question yeah we play a lot in the summer so summer

450
00:29:38,041 --> 00:29:40,741
is our busy time but then fall is a little is a lot

451
00:29:40,741 --> 00:29:43,841
less i think i think for

452
00:29:43,841 --> 00:29:48,121
me understanding balance is understanding that balance doesn't mean it's always

453
00:29:48,121 --> 00:29:55,961
50 50 balance means that sometimes it's going to be 70 30 towards the band and

454
00:29:55,961 --> 00:30:00,981
And sometimes it's going to be 30 towards the band and 70 towards the family and other activities.

455
00:30:01,041 --> 00:30:07,781
But anyone who is a musician who really has a passion for playing live and anyone who loves music.

456
00:30:08,549 --> 00:30:13,989
The person who is a musician who loves playing live, they understand that there

457
00:30:13,989 --> 00:30:19,509
is a drive inside of you to do this that is very hard to quantify and it's very

458
00:30:19,509 --> 00:30:21,229
hard to explain to another person.

459
00:30:21,329 --> 00:30:26,209
And I think you just have to understand that the balance wheels are going to

460
00:30:26,209 --> 00:30:29,369
tip back and forth throughout your time doing it.

461
00:30:29,409 --> 00:30:32,629
And I think you just have to accept that. Okay. Yep. I agree.

462
00:30:33,109 --> 00:30:36,709
Yeah. I mean, and if that person that you're with doesn't understand that,

463
00:30:36,769 --> 00:30:40,629
I don't think they're They're going to be around very long because it just doesn't work.

464
00:30:41,189 --> 00:30:45,349
It doesn't. It's tough. It's very tough. And relationships are tough with any

465
00:30:45,349 --> 00:30:47,089
musician. It's just a lot of time.

466
00:30:47,389 --> 00:30:52,869
And you're, I mean, think about it. You're giving up your significant other

467
00:30:52,869 --> 00:30:56,449
to something that they love so deeply.

468
00:30:56,689 --> 00:31:01,069
And some people feel threatened by that. But it takes a strong person to be with someone like that.

469
00:31:01,129 --> 00:31:04,949
And there's a lot of strong people out there. But you have to have the right

470
00:31:04,949 --> 00:31:06,629
strong person, you know?

471
00:31:06,629 --> 00:31:09,729
Know yep exactly is there anything that we haven't

472
00:31:09,729 --> 00:31:13,269
talked on that you wanted to mention before i let you go oh yeah

473
00:31:13,269 --> 00:31:16,069
we just uh we just got a new lead vocalist in the band in

474
00:31:16,069 --> 00:31:20,929
december jeanette king and we decided we wanted to make a change after quite

475
00:31:20,929 --> 00:31:25,889
a long time with previous singer and we uh made a change and we were not looking

476
00:31:25,889 --> 00:31:30,949
to audition females at all we just put it out there for for auditions and we

477
00:31:30,949 --> 00:31:35,989
had a handful of females that came down and we had never had a female male lead vocalist in the band.

478
00:31:36,329 --> 00:31:38,849
So that was kind of exciting for us. And when she came down,

479
00:31:38,929 --> 00:31:43,389
she just absolutely nailed it. And it really opened up a lot of areas for us to go material wise.

480
00:31:43,949 --> 00:31:46,829
And I mean, we already have three other lead. I'm the lead vocalist.

481
00:31:46,849 --> 00:31:49,789
A drummer can sing lead vocals, Rudy and bass player.

482
00:31:49,849 --> 00:31:55,049
He can sing lead vocals. So we already have enough male voice voices in the band. So this just.

483
00:31:55,919 --> 00:32:01,039
Took what we're already doing and just added something, a level to it with having

484
00:32:01,039 --> 00:32:05,579
the female involved and just opened up an area of material for us that we can

485
00:32:05,579 --> 00:32:09,439
now cover and just, and just reach more people, which is what it's all about anyways.

486
00:32:09,699 --> 00:32:14,239
Right. Yeah. I mean, it's, it's like adding a completely different instrument.

487
00:32:14,279 --> 00:32:18,859
It kind of changes the vibe of the whole thing. And in most cases,

488
00:32:18,879 --> 00:32:21,699
hopefully it elevates the group that they're a part of.

489
00:32:22,339 --> 00:32:25,579
Yeah. Yeah. I mean, I think when you whenever and we've been through a few member

490
00:32:25,579 --> 00:32:33,139
changes over the years, whenever you have a member change, you it has to be a change forward.

491
00:32:33,579 --> 00:32:39,299
It can never be a change backwards, obviously. But you really don't want to go sideways either.

492
00:32:39,419 --> 00:32:42,799
And I had actually a fan that had come up to me and he said,

493
00:32:42,819 --> 00:32:46,979
you know, I've been seeing you for so many years and I've seen you through all the musical changes.

494
00:32:46,979 --> 00:32:50,119
And he said, I got to tell you, every time you guys made a change,

495
00:32:50,319 --> 00:32:54,779
you have made a change in a step forward direction.

496
00:32:54,899 --> 00:32:58,619
And he said, and that can't be said for a lot of bands. No, no,

497
00:32:58,659 --> 00:32:59,999
that's great. That's great.

498
00:33:00,179 --> 00:33:04,659
So where can people go and find out where you're playing? What's your website, social media?

499
00:33:04,759 --> 00:33:09,099
I'll put it all in the show details, but for them to hear it from you, where can they find you?

500
00:33:09,639 --> 00:33:13,279
Yeah, it's thenowband.com is the main website.

501
00:33:13,399 --> 00:33:19,259
And Facebook, just put in at The Now Band. and we have a YouTube page at The Now Band Milwaukee.

502
00:33:20,059 --> 00:33:24,039
And Instagram is the same thing, at The Now Band. Same as Facebook.

503
00:33:24,419 --> 00:33:28,559
Wonderful. Well, Michael, thank you so much for being on the Wisconsin Music Podcast. A pleasure.

504
00:33:28,759 --> 00:33:31,239
It was a great conversation, and I'm glad we had this today.

505
00:33:31,439 --> 00:33:32,519
Appreciate you having me on.

506
00:33:32,720 --> 00:33:39,729
Music.

 

WMP#132: Unleashing Authenticity: Merrill Miller's Musical Odyssey | Genuine Lyrics, Boot-Stomping Rhythm, and the Spirit of Bruce Springsteen

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 132
Merrill Miller

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

🎸 Dive into the soul-stirring world of Merrill Miller on the latest episode of the Wisconsin Music Podcast! 🎙️ Merrill, the unstoppable force behind the strings, is on a mission to embrace life with every chord and lyric.

A maestro on the guitar, Merrill kicked off his journey into songwriting in 2021, and boy, did he make waves! His original compositions have grabbed the attention of music lovers regionally and nationally. What's the secret sauce? Genuine lyrics, a boot-stomping rhythm, and a voice that's as gritty as it gets.

In this episode, Merrill takes us behind the scenes of his musical universe, drawing inspiration from legends like Bruce Springsteen, Johnny Cash, and Chris Stapleton. Get ready for a heart-to-heart conversation about life, music, and the relentless pursuit of living it to the fullest.

Tune in and let Merrill Miller's passion for music and life ignite your soul! 🌟🎶 #MerrillMiller #MusicJourney #PodcastVibes

 

 

WMP#131: Musician, Strategic, is Rocking Wisconsin and Breaking Musical Norms

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 131
Strategic

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

🎙️ **New Episode Alert: Exploring Musical Diversification with Strategic**

In this week's episode of the Wisconsin Music Podcast, join our host as they sit down with the talented Brandon Van Dalen, better known as Strategic. Hailing from Appleton, WI, Brandon has been on a musical journey, releasing projects that span genres from pop and rock to folk, jazz, reggae, and blues.

Over the past decade, Strategic has captivated audiences with his solo project, embracing the essence of being more than just a one-man band. Dive into the conversation as Brandon shares insights into his latest original project, discussing the risks, challenges, and rewarding experiences that come with diversifying your musical portfolio.

Explore the unique world of "live looping" with Strategic, where he intricately layers acoustic guitar, percussion, and vocals to recreate his songs in vibrant live performances. Discover the evolution of his sound, from the reimagined songs project to a full-length Christmas album and a children's album with 14 delightful tunes.

Brandon's message goes beyond the music, aiming to convey that we all have a purpose. As he gears up for his next original project, he challenges the conventional norms of being an indie musician and a one-man band.

Connect with Strategic:
- Facebook: https://www.facebook.com/strategicrock/
- Twitter: @strategicrock https://twitter.com/strategicrock
- Instagram: @strategicrockmusic https://www.instagram.com/strategicrockmusic/
- ReverbNation: https://www.reverbnation.com/Strategic
- YouTube: https://www.youtube.com/strategicrock
- Bandcamp: http://strategic.bandcamp.com/

Don't miss this engaging conversation with Brandon Van Dalen, where he shares his musical journey, challenges the norm, and invites you to be a part of the podcast experience. Tune in now for a dose of inspiration and musical exploration! 🎶 #WisconsinMusicPodcast #Strategic #MusicDiversification #LiveLooping

WMP#130: The Jeff Miller Band: From Green Bay to LA and back!

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 130
Jeffery Miller

 

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

Welcome, music enthusiasts, to another soul-stirring episode of the Wisconsin Music Podcast. Today, we embark on a musical odyssey with the one and only Jeffery Miller, a maestro of melodies and a living encyclopedia of musical tales.

Jeffery's journey began at the tender age of 5 when his grandmother bestowed upon him a cheap guitar, igniting a passion that would shape his life. From playing his first public performance at a 6th-grade show & tell to becoming the backbone of his grade school band, Jeffery's early years were a testament to his unyielding love for music. Join us as he recounts the days of playing for any audience, anywhere, at any price – a testament to the sheer joy of making music.

As adolescence beckoned, Jeffery's band "Justice" (a strict cover band) faced encounters with the authorities, including a memorable showdown with the police during a garage rehearsal that only cranked up the volume. The narrative takes an exciting turn as Jeffery and his bandmates decided to take their musical fate to Los Angeles, recording their first album "Just A Thought" in 1977. The journey unfolds as Jeffery delves into the next 25 years of his life, navigating the music industry as a promoter, producer, agent, and manager, working with everyone from Liberace to Metallica.

The tales continue with Jeffery's foray into managing local, national, and international artists, opening shows for legendary names like Johnny Cash and Jackson Browne. His personal musical endeavors shine through, with the release of two original albums featuring collaborations with renowned musicians and memorable moments like jamming with Bob Marley's guitar in Kingston, Jamaica.

Fast forward to 2021, Jeffery introduces us to his current band, sharing anecdotes about each unique member and the magic that happens when they come together. As we look ahead, Jeffery unveils exciting projects, including a compilation DVD and a Chuck Berry tribute album. His passion for music remains unwavering as he reflects on the bright moments of his career, including playing air guitar and dancing with Chuck Berry on stage.

Join us in celebrating the resilience, creativity, and boundless joy that Jeffery Miller brings to the Wisconsin music scene. This episode is not just a glimpse into Jeffery's journey; it's an immersive experience that encapsulates the essence of a lifelong love affair with music.

Social media and music links: 

Facebook: https://www.facebook.com/TheJeffMillerBand2019/

Twitter: https://www.twitter.com/jeffmillerband

YouTube: https://www.youtube.com/channel/UCT-izyhRIO0le4gm6vbbOXw

TikTok: https://www.tiktok.com/@thejeffmillerband

 

Connect with Jeffery Miller:

• Cell: 561-346-6780
• Email: jeffery8325@att.net

 

Follow the Wisconsin Music Podcast on Facebook, Twitter, and Instagram for more captivating interviews and spotlights on talented Wisconsin musicians.

Wisconsin Music Podcast is honored to amplify the voices and stories of local musicians. If you enjoyed this extensive musical journey with Jeffery Miller, please subscribe, rate, and leave a review. Your continued support fuels our passion for bringing you the best of Wisconsin's musical tapestry!

WMP#129: Arjuna Contreras - Late-Night Drummer, A Week with the Seth Meyers Late Night Band, opening up for Robert Plant, and touring with Reverend Horton Heat

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 129
Arjuna Contreras

 

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

Graduated from UNT with a music degree and have a long history of teaching percussion in the DFW area public schools, including working at Colleyville Heritage HS, Marcus HS, The Colony HS, and Lebanon Trail HS. I’ve always enjoyed balancing my teaching and performing careers. I was fortunate to be the drummer for many DFW area bands during my time there, including Reverend Horton Heat, Brave Combo, and Eleven Hundred Springs. I’m based in Nashville now and have been working with several different bands/ artists, including American Idol- Finalist Josh Gracin and most recently, JD McPherson, who I spent two months on tour with this year opening for the legendary artists Robert Plant and Alison Krauss. A highlight in 2022 for me was spending a week as the house band guest drummer on NBC’s “Late Night with Seth Meyers”!

https://rjdrums.net/

If you’re looking for the Holiday Showcase episode

If you are looking at this on Spotify, and looking for the Holiday episode number 128, Spotify has decided to take it down on their site. But you can go find it on Apple podcast, google podcast, on the Wisconsin Music Podcast website and other streaming services.

WMPodcast Website
https://www.wisconsinmusicpodcast.com/podcast

Podbean:
https://wisconsinmusicpodcast.podbean.com/e/wmp128-festive-melodies-from-the-heartland-a-wisconsin-holiday-music-showcase/https://www.podbean.com/media/share/pb-nfsuh-129cfc3

Apple Podcasts:
https://podcasts.apple.com/au/podcast/wisconsin-music-podcast/id1533425986https://podcasts.apple.com/.../wisconsin-music-podcast/

Amazon:
https://music.amazon.com/podcasts/17d65799-6ff6-44f9-8b41-f6ac7338d225/wisconsin-music-podcasthttps://music.amazon.com/.../17d6.../wisconsin-music-podcast

WMP#128: Festive Melodies from the Heartland: A Wisconsin Holiday Music Showcase

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 128
4th Annual Holiday Showcase

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

Here are the artists' in order of song performance on this episode:

1.  Penelope's Thrill "Christmas on the Moon" 
   Penelope's Thrill released its debut album, Twilight on Tunnel Road, in 2021, which won the Alternative Album of the Year Award from Madison Area Music Association in 2022. The second Penelope's Thrill album, Message on the Moon, will be released in early 2024, featuring many Madison-area musicians.
    
   More info is on the Penelope's Thrill website:
   https://www.penelopesthrill.com/
    
   Lyrics and other info for "Christmas on the Moon" can be found on BandCamp:
   https://penelopesthrill.bandcamp.com/track/christmas-on-the-moon
   
   
2. Weekend Picnic "Wish List"
   Weekend Picnic, a hard rock band from Minneapolis MN. We just recently released our 6 track Christmas EP- A Christmas Weekend Picnic. 
    
3. Wyatt Thomson: "Christmas Time I'm So Lonesome"
   Wyatt Thomson's first release on Philville Records is this original melancholy-yet chipper holiday single, Christmas Time I'm so Lonesome. Featuring Thomson on lead vocals & guitars, he's joined by his pals the Driftless Revelers (Ben Nelson, Jerod Kaszynski, Matt Sayles), as well as Mark Johnson on Accordion, and Dawson Redenius (of Good Morning Bedlam) on trumpet.  
   

   1. Here's a link to more info on Wyatt: https://www.philvillerecords.com/wyattthomson
       
4. Cookies & Crème "Deck The Halls"
   With the twist on the classic “Deck the Halls” we threw as many Christmas references as possible in our verses while keeping the song clean and “kid friendly” 
    
5. The Periodicals: "Highwater or Hell" 
   written and performed by The Periodicals. Recorded live at WORT FM
6. The Rezzonators: It's Christmas Time"
   A holiday original song that we wrote in a previous band called Albatross.  The song title is "It's Christmas Time."  I hope you enjoy it!
7. Weekend Picnic "Wish List"
   Weekend Picnic, a hard rock band from Minneapolis MN. We just recently released our 6 track Christmas EP- A Christmas Weekend Picnic. 
   
   
8. Chainsaw Curtis: "Just Not X-mas (Without You)" 
   Clueless protagonist's wife splits with the kid just before the holidays. He manages to get hammered on rum . He ponders the futility of putting up decorations and getting in the car to look for them during the snowstorm.
   My stage persona, Chainsaw Curtis, did his first nightclub gig in upstate NY in 1970. He was co-owner of the Silver Moon Blues Oasis in Darien from 1989 to 1993 and continues to play blues, R&B, R'n'R and original music all over Wisconsin and Northern Illinois with The Creeper
   
   
9. Dustin Warbear - Grinch
   This is a Christmas song from the perspective of the Grinch, but more of an R rated Grinch than the normal movie one. Not your typical Christmas music 
   
   

10. Tyler Sjostrom

    "How's the Weather Where You Are" for consideration for your holiday music showcase. A little background - I grew up with big family Christmasses in North Dakota, but as everyone's grown and moved away, we don't see each other at the holidays anymore. So that's what this song is about - missing those days (and seeing a familiar joy in my kids and nieces/nephews), but hoping we can all get together again if the stars align just right. Enjoy 
    
    
    
11. Barbara Ann: "Country Christmas"
    This energetic holiday jingle will have you feeling ready for a sleigh ride through the countryside this Christmas season
    
    
12. Xposed 4Heads: "Dance with the Krampus" & "Sleigh Ride"
    From Milwaukee, is a legendary fun rock band that gets played on SiriusXM, Dr. Demento and has headlined DEVO's annual fan fest.  
     
    Dance with the Krampus is a song about the Germanic folk legend of a half goat, half demon that punishes the bad children on the same night that St. Nick gives gifts to the good children.
    
    
13. The Jerks: "Have Yourself a Merry Little Christmas" & "Winter WOnderland"
    A punk spin on a Christmas classic with a deceiving a capella introduction. 
     
    Winter Wonderland
    A call-and-response twist on a traditional holiday song, featuring spouses on background vocals.
    Rumor has it The Jerks may work on some new original songs soon. :) 
    
    
14. Michael Legut: "A Cowboy Christmas"
    Michael is a Singer/Songwriter with a flair for unusual and mindful songs.
     

    This song is written for all the cowboys and cowgirls who may have to work at the job over the Christmas holiday.
    
    
15. Michael Massey: Do You Hear What I Hear" & "O Come, O Come, Emm anuel
     
    mikemasseymusic@gmail.com
    www.mikemasseymusic.com
    www.dracularockballet.com
    www.facebook.com/michael.massey2
    
    
16. 7000apart: "White Noise" & "Runaway"
    Social links:
    linktr.ee/7000apart
     
    Bio: 
    Swedish-American alt-pop duo 7000apart, composed of singer Amelie Eiding and multi-instrumentalist Jon Kresin, craft a deeply emotive musical journey that blends powerful vocals, evocative songwriting, and moody melodies. Emerging from the crossroads of their personal struggles with mental health, their music resonates with authenticity and self-acceptance. Their story began when Amelie, a Swedish exchange student, met Jon in Wisconsin, sparking a creative bond that transcended the 7000 kilometers that separated them. Now married and united in their passion for music, 7000apart’s music delves into themes of self-discovery and mental health. With an unwavering commitment to spreading positivity and hope, they forge a unique path in the indie-pop landscape.
    
    
17. Daylight Riot: "Lament"
    "Daylight Riot is a four-piece heavy metal band hailing from Green Bay, WI. The band officially formed in
    the summer of 2021 and soon after, began to play shows around the Fox Valley. Daylight Riot’s music is a
    blend of classic heavy metal and progressive metal. The band draws lyrical and thematic inspiration from
    the works of Edgar Allen Poe and H.P. Lovecraft to create a gloomy and haunting atmosphere within their
    music."
    
    
    Daylight Riot Social Media:
    https://www.facebook.com/DaylightRiot
    https://instagram.com/daylightriot
    https://tiktok.com/@daylightriot
    https://daylightriot.bandcamp.com/
    
    
18. Drive-a-tron: "Glow In The Dark" & "Leather Coats"
    An indie-rock/dance band mixing together heavy grooves, unexpected harmonies, pulsing keyboards, and poly-rhythmic lyrics as ingredients in a joyous musical burrito. Lightweight and easy to pack, Drive-a-tron is typically run by one person (Paul Vash - Madison, WI) who writes the songs, plays the instruments, makes the videos, and changes the oil.
    
    
19. Dick Elliot: "God Rest Ye Merry Gentleman" & "O Holy Night"
    You could say that Dick Eliot had an Epiphany of sorts when it came to
    selecting the songs and subject matter for his latest album: “O Holy
    Night!”
    “I wanted to record a Christmas album,” Dick said. He wanted to pay
    homage to his deep and abiding faith. This is nothing new. There has been a
    spiritual connection of some kind in all of Dick’s recordings.
    “This one’s for Mom,” Dick said. “I titled it O Holy Night.” That was her
    favorite Christmas Carol.
    
    
20. Fuzzysurf: "Cheer Up Snowflake"
    
    

21. Strangebad - “Been Bad”

    Written by: William Jay Smith and Ava Grey Smith

    Performed by: 

    William Jay Smith - Vocals, Guitar, Bass, Synth, Drums, etc 

    Ava Grey Smith - Vocals 

    Andy Holley - Guitar Solo (2:13 - 2:45) plus the background outro solo (3:00 - 3:17)

    Instagram: www.instagram.com/_ill_mith/

    Bandcamp: www.strangebad.bandcamp.com/
    
    

22. Kelly Dupuy: "So Far From Me:
    
    
23. Jesse Straton: "Through The Night"
    
    
24. The Front Porch Rockers: "Angles Everywhere", "I Want A Hippopotamus For Christmas", & " Mistletoe King"
    The Front Porch Rockers are a trio of friends from southeastern Wisconsin (Paula Treacy, Jesús Villa, and Jim Richards) who have been playing acoustic covers of your favorite songs for the last 12 years. Snowed In With The Front Porch Rockers is their first LP. frontporchrock.com
    
    
25. Strategic: "Christmas Joy and Hope", "Sing We Now of Cgristmas", and "Deck the Halls"
    
     
    https://www.facebook.com/strategicrock/
    Twitter: @strategicrock
    Instagram: @strategicrockmusic
    www.reverbnation.com/Strategic
    www.youtube.com/strategicrock
    http://strategic.bandcamp.com/
26. Young Bloom: "It's Time For Healing"
    
    
27.  Carmen Nickerson and Kostia Efimov : "My Favorite Things"
    It's their spin on the holiday classic "My Favorite Things" from the 1959 Rodgers and Hammerstein musical "The Sound of Music," which, of course, was made popular by Julie Andrews in the film adaptation.
    
    https://carmennickerson.com
    https://carmennickerson.com/shop
    https://www.facebook.com/carmen.nickerson.9

 

WMP# 127: Wisconsin’s Indie Gem: Kay Em Unveils ’Paradise’ | Music Exploration Podcast

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 127
Kay Em

WMP Linktree: https://linktr.ee/WI_Music_Podcast

Embark on a sonic journey with us in this week's episode of the Wisconsin Music Podcast as we feature the exceptionally talented Karen Muehbauer, better known by her stage name, Kay Em. Host Zach Fell delves deep into the heart of indie folk as we explore Kay Em's latest album, 'Paradise.'

Hailing from the vibrant music scene of Milwaukee and currently based in the energy of New York City, Kay Em shares her musical odyssey—spanning from the Midwest to the metropolis. The tales she weaves through her indie folk melodies resonate with themes of love, guilt, and the triumphs of navigating a global pandemic.

Get ready to discover the inspirations behind the music, as Kay Em reflects on her journey, including her time performing with Milwaukee-based bands like The Violet Hour. Her unique perspective and restless creativity promise an engaging and enriching listening experience.

We're thrilled to announce that this episode featuring Kay Em is scheduled for release on Tuesday, December 5th! Join us in celebrating the talent and stories that make the Wisconsin music scene truly exceptional.

Check out Kay Em's music on Bandcamp and SoundCloud.

Bandcamp: 

https://kayem.bandcamp.com/

 

Instagram (@kayem_music):

https://www.instagram.com/kayem_music/

 

Linktree:

https://linktr.ee/kayem_music

 

Soundcloud (includes songs from current and former brands/projects):
https://soundcloud.com/dreamstate08 

 

 

WMP#126: Sounds of Strength: Would You Kindly? Unveils the Power of Alternative Rock on Wisconsin Music Podcast”

WISCONSIN MUSIC PODCAST

AMPLFYING WISCONSIN MUSIC

EPISODE 126
Would You Kindly?

WMP Linktree: https://linktr.ee/WI_Music_Podcast

 

Join me, Zach Fell, on this week's episode of the Wisconsin Music Podcast as we dive into the vibrant and powerful world of Would You Kindly? This female-fronted alternative rock band brings a unique blend of electric violin, modern rock, pop, and jazz to the stage. We'll explore their journey from the local open-mic scene to headlining events like Kenosha Pride and supporting community initiatives. Discover the stories behind their original hits like 'Blood in the Water' and their covers, including a rendition of Styx's 'Renegade.' Learn about their commitment to community support, including sponsoring Make Music Kenosha and playing for Captains + Canines.

In this episode, we'll also hear about their latest projects, including the release of the EP 'Queen of Hearts' and their experiences working with notable talents like Eric LaBrosse of Cherry Pit Studios. Dive into the inspiration behind their music, especially the powerful narrative of their album 'The Aftermath,' addressing the impact of domestic violence and abuse.

Don't miss the exciting news about their WAMI Awards nominations and their win for Rock Song of the Year with 'Blood in the Water.' We'll also explore their upcoming performances at Summerfest and the Lake County (IL) Fair in 2023.

Join me in this musical journey as we celebrate the talent and passion of Would You Kindly? on the Wisconsin Music Podcast.

 

https://linktr.ee/wouldyoukindlyband