Then Let Us Toast John Barleycorn, Each Man A Glass In Hand.

[László]

You might like this one that I covered...

https://soundcloud.com/daniel-weldon-1%2Fjohn-barleycorn-must-die

on this guitar...

Nice job with one of my favorite songs!

 

[Rockabilly69]

Glad you liked it

 

[László]

Glad you liked it

I loved it.

You're clearly familiar with Traffic's version of John Barleycorn.

Traffic didn't get much airplay back when the record came out, even on then-cutting-edge FM radio. The band was kind of a cult thing, but I was into their music. I was also knocked out by the piano jam, Glad, so I immediately learned to play it on piano, and to play the acoustic guitar bit on John Barleycorn.

When people heard me play Glad on keys, they weren't familiar with the tune, and mistook me for the Great God of Keyboard Instruments, Pianofortes.

That song got me a variety of offers.

 

[Prina]

Traffic didn't get much airplay back when the record came out, even on then-cutting-edge FM radio.

I guess we were luckier by '72 in the Bay Area with station KOME ("Don't touch that dial, there's KOME on it"). Seems like you couldn't avoid bands like Traffic & Allman Bros.

Every time I hear 'Low Spark' it takes me WAY back.

 

[Rockabilly69]

I loved it.

You're clearly familiar with Traffic's version of John Barleycorn.

Traffic didn't get much airplay back when the record came out, even on then-cutting-edge FM radio. The band was kind of a cult thing, but I was into their music. I was also knocked out by the piano jam, Glad, so I immediately learned to play it on piano, and to play the acoustic guitar bit on John Barleycorn.

When people heard me play Glad on keys, they weren't familiar with the tune, and mistook me for the Great God of Keyboard Instruments, Pianofortes.

That song got me a variety of offers.

I grew up in New York where Traffic and Blind Faith were radio staples. And from their first album I was hooked. Even to this day I do "Forty Thousand Headman" in my acoustic sets (that's what I do for a living). But when my brother gave me John Barley Corn Must Die as a present I was knocked out. I also do "Can't Find My Way Back Home", recently I did this demo to get some gigs and I open with it...

 

[László]

Every time I hear 'Low Spark' it takes me WAY back.

By then, Traffic was bigger. But not so much in 1968-69.

 

[László]

I grew up in New York where Traffic and Blind Faith were radio staples. And from their first album I was hooked. Even to this day I do "Forty Thousand Headman" in my acoustic sets (that's what I do for a living). But when my brother gave me John Barley Corn Must Die as a present I was knocked out. I also do "Can't Find My Way Back Home", recently I did this demo to get some gigs and I open with it...

'40,000 Headmen' blew me away and was my introduction to Traffic.

Your video is a joy on a lot of levels, and your vocals? Fantastic.

Like you, I create music for a living. I've spent the last 34 years composing music for TV commercials. Since Covid I've been awfully interested in writing orchestral music; stuff like this has been my escape valve:

The Abbey

The Abbey by Leslie Schefman

leslieschefman.com

 

[Rockabilly69]

'40,000 Headmen' blew me away and was my introduction to Traffic.

Your video is a joy on a lot of levels, and your vocals? Fantastic.

Like you, I create music for a living. I've spent the last 34 years composing music for TV commercials. Since Covid I've been awfully interested in writing orchestral music; stuff like this has been my escape valve:

The Abbey

The Abbey by Leslie Schefman

leslieschefman.com

That was fantastic, an orchestral tango. And I was just sitting here talking about tango with my girl! We both love dance so I loved this music of yours.

Covid was not too kind to me. I remember driving to one of my house gigs, and on the way to the gig, I got a call from my booking agent telling me my whole season of gigs there were cancelled until further notice. And I got more calls like that, and I didn't know what I was going to do for a living. Fortunately one of the guys I worked for payed me for a whole season anyway, and that was enough to keep me floating for a while. Well, I just didn't want to pick up a musical instrument for a while, and I fell into a depression (and I've never ever been depressed!!!!) as my whole identity seemed to rotate around my live performing. It went that way for a while, until a realized I just had to change gears and start writing some new music. So I went into my little recording area that I have setup in the front bedroom of my house, and knocked out a song. It took me a bit to get started, but eventually the juices got flowing, and I wrote this song. And that was enought to get me back in gear...

https://soundcloud.com/daniel-weldon-1%2Ftears-in-my-eyes

Right after that, I started to arrange to record people in my project studio, mostly solos as that's what I like best and would be somewhat easy to social distance, I'm older, 66, with a history of pneumonia, so I was very careful to keep distance from people in that first wave of Covid. I actually lost two very close relatives to it. But things worked out and a lot of people wanted to record with me as I seem to have a knack for recording singer songwriters. And then I got calls to do some outdoor gigs where social distancing worked (outdoor street restaurants, and some small concerts). Eventually life turned back to somewhat normal but I still think about the pandemic, and how it hit me square in the chops so to say.

 

[László]

That was fantastic, an orchestral tango. And I was just sitting here talking about tango with my girl! We both love dance so I loved this music of yours.

Covid was not too kind to me. I remember driving to one of my house gigs, and on the way to the gig, I got a call from my booking agent telling me my whole season of gigs there were cancelled until further notice. And I got more calls like that and I didn't know what I was going to do for a living. Fortunately one of the guys I worked for payed me for a whole season anyway and that was enough to keep me floating for a while. Well, I just didn't want to pick up a musical instrument for a while, and I fell into a depression (and I've never ever been depressed!!!!) as my whole identity seemed to rotate around my live performing. It went that way for awhile, until a realized I just had to change gears and start writing some new music. So I went into my little recording area that I have setup in the front bedroom of my house, and knocked out a song. It took me a bit to get started, but eventually the juices got flowing, and I wrote this song. And that was enought to get me back in gear...

https://soundcloud.com/daniel-weldon-1%2Ftears-in-my-eyes

Right after that, I started to arrange to record people in my project studio, mostly solos as that's what I like best and would be somewhat easy to social distance, I'm older, 66, with a history of pneumonia, so I was very careful to keep distance from people in that first wave of Covid. I actually lost two very close relatives to it. But things worked out and a lot of people wanted to record with me as I seem to have a knack for recording singer songwriters. And then I got calls to do some outdoor gigs where social distancing worked (outdoor street restaurants, and some small concerts). Eventually life turned back to somewhat normal but I thing about he pandemic hit me square in the chops so to say.

Tears In My Eyes is terrific; nicely done!

I got through the pandemic by using remote audio and video software called Evercast. It let me send a combined high definition audio and video signal to clients, who could communicate with me in sessions and mixes (we could speak to, and see each other as well as share my computer screen).

It was expensive, but it worked much better than I expected. I loved being able to have them participate in sessions.

In addition to the music, because I had the software, clients like Ford's ad agency had me mix voiceover and music to picture so they didn't have to go to an audio post studio, but could still participate in the final mixes.

However, I wasn't as busy during the pandemic, so I had plenty of time to waste on orchestral music (for which there is no market)!

 

[Rockabilly69]

Tears In My Eyes is terrific; nicely done!

I got through the pandemic by using remote audio and video software called Evercast. It let me send a combined high definition audio and video signal to clients, who could communicate with me in sessions and mixes (we could speak to, and see each other as well as share my computer screen).

It was expensive, but it worked much better than I expected. I loved being able to have them participate in sessions.

In addition to the music, because I had the software, clients like Ford's ad agency had me mix voiceover and music to picture so they didn't have to go to an audio post studio, but could still participate in the final mixes.

However, I wasn't as busy during the pandemic, so I had plenty of time to waste on orchestral music (for which there is no market)!

Glad you l like the music.

I could have really used Evercast!!! That would have really made working feel safer for me. But although I am good at hands on recording techniques, I'm kind of a Luddite when it comes to new software, especially remote recording and streaming. I'm still recording on 10 year old Windows Elitebook computers (I have 3 of them setup identically) and computer software that I originally bought for Windows 7 (although many plug-ins are much newer versions). And to show you how much of a backwards person I am, I have never used a MIDI instrument of any kind. That said, I really think that's cool that you found a way to work productively during that time. And I think you should keep exploring the orchestral path, it sounds great.

BTW, my girl is a graphics and web design person, and she does all of her work remotely, and has since we've been together (24 years). She's very succesful at it. You'd think I would have learned something from her

 

[László]

I could have really used Evercast!!!

It's glitch-free and ridiculously easy to use. They use a remote desktop program and set up your computer for you over the web. All you and your clients do is log in to your session. No scheduling is involved, your virtual studio is yours to use whenever you like.

To use it, a more recent computer and a fast internet connection are needed. During Covid I had very good results with a 2020 i9 iMac. I run a much faster Mac Studio now, but it isn't needed for Evercast.

The only drawback is the cost; with an annual subscription it's $549 a month. You can go month to month, but it's quite a bit more expensive. On the other hand, if there's an important project, it's absolutely worth the expense, even on a month to month basis.

BTW, my girl is a graphics and web design person, and she does all of her work remotely, and has since we've been together (24 years). She's very succesful at it. You'd think I would have learned something from her

If your stuff works, it's great. No need to upgrade, and you have nice analog gear! Your stuff sounds good.

I had to go "in the box" about 15 years ago just to keep up with my competition. The only way it can be managed is 'in the box' production. So I need a machine that can accommodate the workflow.

I write to picture; every time they change video in editorial, I'm expected to make a timing change to music and sound design - which can be several times a day, because they aren't really done until they have to hand the spot to the broadcasters.

It wasn't that way for a long time - in fact, the first time they heard a track was often in audio post - but once a competitor can do something new, everyone else has to ride the wave.

So I sold off my analog console, tape machines, and outboard gear. I got peanuts for it. There are times I miss that stuff for the audio quality and vibe.

But when the agency says they need it Friday, I have it ready by Monday, so when I get a call on Tuesday asking when they can have the track for a last minute client meeting, I'm ready to roll.

I hope it doesn't sound like I'm complaining. I really love my work!

 

[Rockabilly69]

It's glitch-free and ridiculously easy to use. They use a remote desktop program and set up your computer for you over the web. All you and your clients do is log in to your session. No scheduling is involved, your virtual studio is yours to use whenever you like.

To use it, a more recent computer and a fast internet connection are needed. During Covid I had very good results with a 2020 i9 iMac. I run a much faster Mac Studio now, but it isn't needed for Evercast.

The only drawback is the cost; with an annual subscription it's $549 a month. You can go month to month, but it's quite a bit more expensive. On the other hand, if there's an important project, it's absolutely worth the expense, even on a month to month basis.

If your stuff works, it's great. No need to upgrade, and you have nice analog gear! Your stuff sounds good.

I had to go "in the box" about 15 years ago just to keep up with my competition. The only way it can be managed is 'in the box' production. So I need a machine that can accommodate the workflow.

I write to picture; every time they change video in editorial, I'm expected to make a timing change to music and sound design - which can be several times a day, because they aren't really done until they have to hand the spot to the broadcasters.

It wasn't that way for a long time - in fact, the first time they heard a track was often in audio post - but once a competitor can do something new, everyone else has to ride the wave.

So I sold off my analog console, tape machines, and outboard gear. I got peanuts for it. There are times I miss that stuff for the audio quality and vibe.

But when the agency says they need it Friday, I have it ready by Monday, so when I get a call on Tuesday asking when they can have the track for a last minute client meeting, I'm ready to roll.

I hope it doesn't sound like I'm complaining. I really love my work!

Nope, you don't sound like you're complaining to me, just telling me how it is.. And it sounds like you're doing what it takes to be competitive in your world. Frankly, it sounds like a great job.

And by the audio quality of what The Abbey, I can tell "In The Box" works just fine.

 

[László]

Nope, you don't sound like you're complaining to me, just telling me how it is.. And it sounds like you're doing what it takes to be competitive in your world. Frankly, it sounds like a great job.

I like doing it. My lone talent is that I can look at picture and come up with a few musical ideas that work with it. It's only 30 seconds.of music. By the time you're done with the intro, it's time to end it.

The longer format stuff like documentaries or films...I can just about manage. Barely.

And by the audio quality of what The Abbey, I can tell "In The Box" works just fine.

I'm grateful you liked that mix!