[This comes to us from Steve Freeman of Camp Jam.]
Camp Jam is the ultimate and only national rock music camp. The camp was created by renowned rock guitarist/songwriter Jeff Carlisi of .38 Special and his longtime business partner Danny Lipson. Held in 20 cities across the U.S. and Canada, Camp Jam offers a number of unique music programs for musicians of all skill levels, including a summer day camp for rockers age 11-17, one for pint-size rockers ages 7-10 and week-long overnight music camps in Chicago, Atlanta, Pittsburgh, San Francisco, New York, Dallas, Boston, San Diego, Seattle, DC and Denver areas for ages 12-17.
The camp has gained national prominence since launching in 2004. As an innovative summer camp, the Camp Jam program gives young musicians the chance to collaborate with their musical peers for the rock ‘n’ roll experience of a lifetime—from forming their own bands and playing a concert to hanging out with rock music legends and recording a CD. More importantly, Camp Jam offers them the opportunity to improve their performance skills, build confidence, and practice teamwork; all lessons that last long after their week at Camp jam is over.
As the national director, musician and instructor, it is important to me that Camp Jam has an educational element in addition to the overall band experience. In developing the curriculum we are always looking for ways make it better and more relevant to today’s musician. Audio software has drastically changed how we record music, so it was inevitable that Camp Jam would include recording as part of the curriculum at some time.
At NAMM 2010 I stopped by the PreSonus booth and was introduced to PreSonus and Studio One for the first time. I was really impressed with the software and contacted Brad Zell, their Marketing Communications Director, when I returned home. Brad offered to provide all our campers with a Studio One download code, so I began searching for the right person to write the curriculum and course outline to implement Studio One Professionsal into our 2011 schedule.
I was introduced to Darryl Swann, Macy Gray’s Grammy Award-winning producer, who picked up on the program idea and created a book for Camp Jam (available through the Camp Jam website) titled Killer Song Writing Producing and Recording. The book and course outline is easy reading with pictures and simple explanations.
For the 2012 curriculum, we put together pedal boards dontated by SKB that were crafted into complete studios in a box. Brad loaned Camp Jam several AudioBox 1818VSLs and Digimax D8’s for the project. These studios in a box were used in the recording class to record the original songs created by Camp Jam’s overnight campers.
This has been the best Camp Jam season yet, and we are very grateful to have a company like PreSonus interested in providing the tools we need to help develop these young rockers into seasoned musicians.
Camp Jam is offering readers of this blog $50 off registration for 2013. Just call 800 513-0930, code word PreSonus. This is a call-in only discount, so hit us up!
[Briana Tyson graced us with a song or two during Summer NAMM… completely impromptu! It turned out to be an exceptional opportunity to not only showcase Nimbit, but also be blown away by Briana’s performance! Briana’s take on the entire experience follows.]
[Check it out! This just in from Guido of Dactah Chando and JahCoustix. He took the time to illustrate his complex stage plot and in-ear monitoring setup using the StudioLive 24.4.2! Guido plays keys and wrangles the monitor mixes for his bands.]
I just played on the biggest festivals this year in Germany and everybody looked at me because I have a PreSonus StudioLive… U can imagine if U play with a band on a festival stage in front of 100,000 people, the technicians are very very professional on stage… But, i prefer to work with my StudioLive 24.4.2… and they make big eyes because our soundcheck was done in 8 minutes! 🙂
I have a couple of different bands I use the StudioLive Mixers with:
Greetings all, just wanted to send a quick update. I recently played drums on smooth jazz artist Steve Oliver’s new CD World Citizen, which just peaked at number 11 on Amazon’s Smooth Jazz charts. On the hit track “Watching the World,” I recorded my parts at my home studio using the StudioLive 16.4.2 into Capture and edited it in PreSonus Studio One.
Back on the road with Craig Chaquico this week, first up is Walnut Creek CA then we fly out to Kona, Hawaii!
[Thanks Randal! Excited to see the track climb! Onward and upward…]
John Taylor is a new-ish PreSonus Artist and is the Guinness-recognized Fastest Guitar Player in The World.
He wanted to let the PreSonus community know that he’s got a new e-book out. it’s called “Be the Fastest Guitar Player in the World,” and you can view a preview and (ideally) purchase the book at DrHotLicks.Com on the “online lessons” page.
Taylor’s shrednum opus weighs in at a hefty 101 pages, is rife with high-quality up-close photos of fleet fingers, and is backed up by a solid fifty megs of performance MP3s!
It’s a serious endeavor that the man has been focusing on for a while now… shredders take note!
PreSonus Artist Dr. Scardo just wrapped the video for their new single, “END OF THE WORLD!” This track was recorded, mixed, and mastered entirely in Studio One. We hope it’s not really The End of The World, despite Mayan prophecy, because we’d like to see and hear more Studio One productions. And also because apocalypses are a total bummer.
PreSonus artist Avery Watts recently unleashed “The Takeover,” a dynamic, strikingly produced record that serves as a sort of rally cry to all things Watts. High-volume rock and shouted vocals are all tempered by lush arrangements, staggering track counts, and orchestral (!) elements that place the record a standing broad jump forward from its Rapcore origins. Further cementing the hardworking DIY mindset of its creator, “The Takeover” is also a solo record in the truest sense—Avery played nearly every instrument represented here!
It’s hard to imagine anything that could sound simply bigger than this amalgam of stadium rock grandiosity and lion-hearted hip-hop bombast, but on first listen one realizes: here it is. If the intended effect is to make the listener feel a little closer to Watt’s stature, (6″5′ of hard-working, resistance-training, clean-living alpha male rock stardom) than The Takeover’s mission is accomplished.
Regarding Avery’s choice of PreSonus gear in the studio, he says:
“In studio, I’ve found the Studio Channel, BlueTube DP, TubePre and HP4 to all be invaluable tools. The simplicity and warmth of the tube preamps makes for an excellent source signal that is compact, easy to use and won’t break the bank – not to mention they’re as reliable and constant as any device could possibly be. I end up using them for vocals, tracking guitars and even mic’ing auxiliary percussion. I tend to use the Studio Channel primarily as a DI for strings such as the Violin, Viola and Electric Cello. I even keep a TubePre and an HP4 with me wherever I go for recording on the run; you never know when inspiration is going to hit!”