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Vault Music, co-founded by former FanDuel CEO Nigel Eccles, has introduced Fantasy Record Label, a unique game described as a novel approach to fantasy football for music. Available on Vault's Web3 platform, the game allows players to compete for weekly cash prizes by "signing" five acts based on their perceived growth potential, measured by week-to-week changes in Spotify monthly listeners. To participate, players must own at least one NFT from each musician on their fantasy roster. The top 10 rosters, judged by overall listener movement, will win cash prizes. Eccles aims to revitalize the music industry for diehard fans and artists, addressing streaming's payment inequity. Vault Music emphasizes using fandom to financially support artists, with early success stories of artists earning more from a single release on Vault than a year of streaming. The game encourages players to discover, collect, and sign emerging artists, creating a mutually beneficial music economy. In related news, We Are Giant secured $8 million in funding, and Fave, backed by Sony Music and Warner Music, raised $2 million in October. to me personally I think this is a great new oppertunity for fans and artists, what do you think?
Binks on bass, Chris Corona on guitar, and Ben Richardson on drums) has mastered their sound and we put a lot of thought into gear selection to accomplish this album, which paid off.
For me, part of what made this album unique is how we all talked about recording it. The band sounds like they are out of a 70's time warp and they are big on all analog recording. So I did some research and found this really cool guy named Roger, who owns Golden Gate Recording (in SF), and we all went down to check out his spot. Outside were junkies and hookers, and inside there was a beautiful gear palace. It was straight out of the past. It was perfect.
Trying to keep the vibe of analog but the timeframe of the 21st century, I said fuck tape and we got a 24ch AD/DA rig (with a big thank you to my hero, Zach Phillips of FreqLab Recording, you saved my ass homie!) and tracked to hi res Apogee converters. This was a tough call to make since GGR was equipped with two gorgeous Studer A827's, but we were on a mission. I utilized the racks of dream gear and captured it with the best converts we could get. Once we finished tracking, I dumped it to an Otari MTR 90 MKIII 24 track and mixed it on an SSL to an ATR 102 1/2" deck. So this record was bound to sound old.
Overall, this was a really fun session with a group of really awesome folks. I love the challenge of matching studios and gear to a project and Wild Eyes gave me a great one. Golden Gate Recording was a treasure chest of audio goodies, much of which was a real treat to work with.
Thanks for cruisin' by the new and improved website! While the old, we'll call it "minimalist", site had most of the same basic info, it was time to snazz things up a bit and lay out some more details that you might be looking for from jgaudioproductions.com. Poke around, find out some new stuff about JG Audio Productions and Josh, and feel free to contact us with any questions. Cheers!