Heya! Check out the deeply personal and incredible new video from Nothing More for “Jenny.” But more importantly, check out the cause. First, here’s the video:
Next, here’s the cause: Nothing More is looking to raise awareness of mental health challenges through partnerships with PledgeMusic, BringChange2Mind, The Jed Foundation, To Write Love On Her Arms, YoungMinds, and the International Bipolar Foundation.
You can support these charity partners and pick up some cool exclusive merch at the #IKnowJenny page on PledgeMusic. Click the image below to
Daniel “Freebo” Friedberg is a decorated singer/songwriter with an impressive session/sideman history, including a ten-year stint playing bass and touring with Bonnie Raitt. Other collaborators include John Mayall & The Bluesbreakers, CSN, Maria Muldaur, Ringo Starr, Michelle Shocked, Neil Young, Loudon Wainwright III, and Dr. John. He’s also a formidable tuba player.
The last few years have seen Freebo launching into a successful solo career, having released four solo albums since 1999. There’s no quick-and-easy way to pin down a singular “Freebo sound,” as his diverse solo material is suitably colored by his work with all of the above A-list names. As such, his work boasts a seasoned blend of blues, rock and folk—but closer listening reveals undertones of dixieland, reggae, and Broadway musicals.
His Nimbit store offerings include a multitude of sponsorship opportunities (you can even buy “Executive Producer” credit on his next record!) two singles, and four full-lengths, including the canine tribute album, Dog People.
It only took a few listens to Buffalo, New York’s The Reign Of Kindo to make me realize I was a jazz-rock fan. It’s important to distinguish them from what a lot of folks call fusion, which seems to err a little more heavily on the jazz side of things—and often the smoooooth jazz side of things.
Not these guys. The Reign of Kindo’s potent formula begins with a distinctly jazz-fueled approach to arrangement, rhythm and chord structure, delivered with urgency and song structures typically associated with rock. As such, they are a must-listen for both rock and jazz fans looking for a refreshing groove that isn’t too far off the beaten path.
Fleet, often busy drumming drives the bulk of the Kindo repertoire—frequently mixed right up in your face, where it belongs. Lead singer Joe Secchiaroli commands a voice that is simultaneously assertive and approachable, and the bulk of their recordings are bathed in wall-to-wall piano. While the bulk of the sonic structure here is vocals, bass, drums, and piano, guest instrumentation livens things up via sax, cello, and… hey, was that a singing saw? Cool.
And they give us a lot to choose from. Musically speaking, The Reign of Kindo’s Nimbit Store offers a couple of full-lengths includingThis is What Happens and Live YouTube Sessions, a couple yuletide EPs and a single. There’s also a ton of apparel options available, and it’s nice to see them breaking out of the “band name on a T-shirt” mold with hoodies, kids’ shirts, and even a classic mesh trucker cap—call it a utility/fashion fusion.
Boston’s Livingston Taylor began his career as a performing songsmith nearly straight out of high school, having first picked up the guitar at a spry 13 years of age. His songwriting (seemingly seasoned straight out of the gate) and personable, relatable stage presence garnered notice from live music fans and critics alike. 1970 saw him land his first record deal, releasing his eponymous debut on the esteemed Capricorn Records. Last year—that’s 44 years later—he released Blue Sky, his 18th.
Having performed around 80 shows per year in that timespan, he’s really played any type of gig you can imagine, from coffee shops to large festivals to opera houses, landing a couple of Billboard charting-hits along the way: “I Will Be in Love with You,” and “First Time Love.” And it’s that breadth of experience (well, okay, and also his songs) that landed him the coolest gig he’s ever had: that of Professor at Berklee College of Music—a post he’s held since 1989.
His discography, most of which is available via his Nimbit store, is peppered with a couple best-of collections, a covers record, and also a sort of self-cover record. Good Friends finds Livingston taking some of his more familiar tunes into decidedly jazzier territory—great for established fans that enjoy a new spin on the familiar. Furthermore—and we don’t see this too often at Nimbit—he has distilled his Berklee teachings down into a good ol’-fashioned book, “Stage Performance,” which is also available for sale.
Here’s a great video that came to us from L.A. producer/songwriter/engineer AG! She’s made the jump over to Studio One from Pro Tools and Logic—and she’s also using a couple Sceptre monitors and the ADL 700 preamp.
AG has worked with Natalie Imbruglia, and done music production for TV shows including Gossip Girl and Grey’s Anatomy. Check it out!
PreSonus Artist and good friend Vigilante (AKA Big Brother 84) recently launched the worldwide We Are One tour, And as if that’s not enough to keep him busy, he also just announced this remix contest, which (so far) is offering prizes from PreSonus, Keith McMillen Instruments, Waldorf, MeldaProduction, and many more!
Complete, official rules are linked below, but here’s the short, unofficial rules:
You know—for kids!
Steve Roslonek of SteveSongs has been writing and performing his award-winning music for kids and families for fifteen years, as both a touring and recording balladeer and children’s TV host. In that time, Steve has won numerous prestigious awards including two Parents’ Choice Gold Awards, a NAPPA Honor, two iParenting Media Awards, and a Kidscreen nomination for Best Children’s TV Host. He’s also released a ton of kids-first recordings that are silly and educational in equal parts.
Like much kid-targeted media, there’s a heavy leaning toward funny animal themes here—lots of bugs, rabbits, ducks, dogs, and even a rock’n’roll werewolf—all trumpeting 101-level life lessons on the merits of vegetables and tooth-brushing. For a music-purchasing grown-up who normally might feel like they are merely enduring a children’s record, there are occasional nods to popular songs that in-the-know adults will enjoy a knowing laugh from. A smart move on Steve’s part, and it’s what establishes him as a purveyor of family entertainment as opposed to children’s entertainment. Add to that his sincerely inspired wordplay, (rhyming “Canteloupe” with “can of soap,” never would have occurred to me) and there really is something for everyone.
A broad majority of Steve’s SteveSongs songs feature Steve on lead vocals and guitar, surrounded not only by a bang-up world-class band, but also a shout-along gaggle of enthusiastic rugrats. Mostly folky-acoustic and always squeaky clean, there’s a diverse array of instrumentation and musical themes here that dally with rock territory while never getting any heavier than, say, Paul Simon’s Graceland.
Steve’s Nimbit profile offers no fewer than eight full-length albums available in both MP3 and CD, as well as softcover and hardcover editions of Shape Song Swingalong, a DVD, and t-shirts available in various flavors of small. Steve’s pretty good about keeping his tour schedule up-to-date as well. Check it out so you and the cubs can contribute to The Shape Song in person sometime, and maybe hitch a ride home in Dan’s Orangutan Van.
Except that hitchhiking is never safe, kids, so don’t.
La Carta Perfecta – En Vivo fue una gran grabación realizada para Danilo Montero en 2014—tan grande, de hecho, que ganó un premio Grammy Latino al Mejor Álbum Cristiano. El álbum en vivo fue mezclado por Abraham Martínez en Studio One Professional 2. (En la foto debajo)
Martínez es ingeniero de audio FOH de tiempo completo trabajando para Marcos Witt, un muy reconocido líder de adoración y músico cristiano en Latino América. Cuando no trabaja con Witt, Martínez pasa su tiempo libre apilando premios Grammy Latinos. El ha obtenido tres galardones en solamente cuatro años:
Hemos tenido la chance de intercambiar algunos e-mails con Abraham para obtener algunos detalles adicionales. Como Abraham ha estado usando Studio One—y otros productos PreSonus—por algunos años hasta la actualidad, este es su primer Grammy Latino obtenido como galardón por un proyecto mezclado en Studio One. Abraham llegó a Studio One de la misma forma que muchos usuarios—a través del hardware PreSonus.
“Antes, cuando grababa más, usaba un preamplificador M80 y un ACP88”, dice Martínez. “Más recientemente he usado un ADL 600 para la grabación de pistas de voz y bajo. También uso una consola digital de mezclas StudioLive por su calidad de sonido y facilidad de uso para el trabajo en nuestra iglesia. Tengo siempre asociado a PreSonus con valor, pero nunca los había considerado como desarrolladores serios de una aplicación DAW hasta que probé Studio One!”
“Ahora uso Studio One exclusivamente para todas mis mezclas en mi estudio de mezclas personal AMmix”. Martínez continúa, “También lo usamos en nuestra iglesia para grabar y mezclar nuestras obras. Lo que me atrajo principalmente hacia Studio One es que el flujo de trabajo es muy intuitivo. Se sintió natural de inmediato, sobre todo para la mezcla. Recuerdo que tuve que volver a mi viejo DAW para terminar un proyecto antiguo y lo comencé a odiar ya que se sentía primitivo en comparación. Lo que me mantuvo trabajando en Studio One, sin embargo, fue su calidad de audio y sus características profesionales. Eso es algo a lo que yo no estaba dispuesto a renunciar”.
“Studio One no defrauda”, afirma Martínez. “Las funciones de edición de percusión y de cuantización son las mejores por lejos. Me encanta que nunca hay problemas con clics y pops y todo permanece perfectamente en fase. La calidad del sonido y facilidad de uso son las fortalezas de Studio One”.
Martínez habla desde la experiencia cuando compara Studio One con otros DAWs y flujos de trabajo.
“Encontré mi flujo de trabajo mucho más rápido y fluido en Studio One, a diferencia de Nuendo, con el que he trabajado anteriormente por muchos años. Hace poco hice una comparación trabajando completamente ‘en la caja’ (Computadora) con Studio One contra mi sistema híbrido hardware/software —y honestamente puedo decir que las diferencias fueron mínimas. Ahora me siento completamente cómodo trabajando ‘en la caja’ cuando tengo que hacerlo!”
“No puedo esperar ver que tiene Studio One en las tiendas para nosotros en la versión 3”
Mire el video “Dios es Amor” de Danilo Montero a continuación:
Chicago’s Don Conoscenti is a musician’s musician through-and-through who enjoyed a supportive musical upbringing. While now best known as a decorated singer/songwriter in acoustic circles—he’s a winner of the Rocky Mountain Folks Fest Songwriting Competition and was a National Academy of Songwriters’ Acoustic Artist of the Year finalist—fact is the guy cut his teeth by learning drums before learning guitar, and established his acoustic claim after many years spent as a “die-hard rocker.” Never one to be bound by the limits of genre loyalty, Don is also an accomplished flautist and vocalist.
His “few rules” mentality also applies to his approach to the guitar—he’s the only guitarist I’ve ever seen use multiple capos on a guitar, including partial capos. If you’re a guitar player, good luck trying to figure out how to play his songs just by listening to them. For you he released the hilariously titled Capo Abuse and Guitar Techniques video.
Don’s rock’n’roll beginnings have proven a major asset in his ability to stand apart in an ocean of acoustic-driven songwriters. The rockin’ influences in Don’s work aren’t worn on his sleeve, but instead bubble up through the cracks in a much more subtle manner than is typically associated with rock music. So far, he’s nine self-released albums into his career.
On his latest release. High Desert Sessions, Don turned to PreSonus Studio One to make the entire record on his own. Of the experience, he says, “Thanks to recording software like PreSonus’ Studio One Professional, I can now produce, track, orchestrate, mix, master and immediately upload the finished product to Soundcloud and my Nimbit Store, which then allows me to sell it through my website and social media pages within minutes of mastering. It wasn’t easy to learn how to do all that, but there’s a lot to love about the end result of that process. Thanks for listening and look for a summer 2015 release featuring some heavy hitting guest artists including Ellis Paul and Grammy-winning artists Paul Buckmaster, Bill Miller and Lloyd Maines.”
La Carta Perfecta – En Vivo was a big record for Danilo Montero in 2014—so big, in fact, that it won a Latin Grammy for Best Christian Album. The live album was mixed by Abraham Martinez, pictured above, in Studio One Professional 2.
Martinez is a full time FOH audio engineer for Marcos Witt, a well known worship leader and music artist in Latin America. When not working with Witt, Martinez spends his spare time rackin’ up Latin Grammys. He’s collected three in only four years:
We had the chance for an e-mail exchange with Abraham to get some additional details. While Abraham has been using Studio One—and other PreSonus gear—for a couple of years now, this is his first Latin Grammy award for a project mixed in Studio One. Abraham came into the Studio One fold the same way many users do—via PreSonus hardware.
“Back when I recorded more, I used an an M80 preamp and ACP88,” says Martinez. “More recently I’ve used an ADL 600 for tracking vocals and bass. I also use a StudioLive mixer for its audio quality and ease of use for work on our church campus. I have always associated PreSonus with value, but had never considered them a serious DAW developer until I tried Studio One!
“Now I use Studio One for exclusively for all of my mixes in my personal mixing studio, AMmix,” Martinez continues. “We also use it at our church to to record and mix our plays. The main thing that drew me toward Studio One was it’s incredibly intuitive workflow. It felt natural immediately, especially for mixing. I remember having to go back to my old DAW to finish an older project and hating it as it felt primitive in comparison. What kept me working in Studio One however, was its audio quality and professional features. That is something I just wasn’t willing to give up.
“Studio One doesn’t disappoint,” Martinez asserts. “The drum editing and quantization features are the best by far. I love that there are never problems with clicks and pops and everything stays perfectly in phase. Audio quality and ease of use are Studio One’s strengths.
Martinez speaks from experience when comparing Studio One to other DAWs and workflows.
“I found my workflow to be much faster and fluid in Studio One, as apposed to Nuendo, which I worked on before for many years. I recently did a comparison of working completely ‘in the box’ with Studio One against my hybrid hardware/software setup—and I can honestly say that the differences were minimal. I now feel completely comfortable working completely in the box when I have to!”
“I can’t wait to see what Studio One has in store for us in version 3,” he muses.
Watch the video for Danilo Montero’s “Dios de Amor” below: