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Ideas for Electro-Music 2017 at Greenkill
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Andrew Sblendorio



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PostPosted: Wed Sep 14, 2016 3:33 pm    Post subject: Ideas for Electro-Music 2017 at Greenkill Reply with quote  Mark this post and the followings unread

Hey everybody, I want to open this thread up to consolidate thoughts from everyone.

My goal for Electro-Music 2017 at Greenkill is to keep as much of the same energy and format as possible for next year. Hopefully after we can all successfully continue what Howard, Greg and Hong have created, we can make significant changes in years to come (assuming there is even a way electro-music could be any better).

What do you like? What should stay exactly as it is? What do you think could be better? Any other thoughts?

Also if you have any special skills to offer up that Greg doesn't already know about, let me know here, or contact me (Andrew Sblendorio) on facebook. If you need my e-mail I'd be more than happy to private message it to you! I'm especially looking for people interested in pr or ideas about new groups that could come to the event (like the university students that attended this year).
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egw
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PostPosted: Wed Sep 14, 2016 3:54 pm    Post subject: Reply with quote  Mark this post and the followings unread

I'm sure that a better job of outreach and publicity could be done, as we did almost nothing in that regard except notifying the mailing list, forum, and posting on facebook.
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PanOrpheus



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PostPosted: Wed Sep 14, 2016 4:49 pm    Post subject: Greenkill
Subject description: Way to Go!!!!!!!!
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Andrew, I'm IN!!!!! I can try my hand at promotional issues...I promote my books in various ways...and also have 2 or 3 Companies that I use for Book Promotion. I know how important that is...so I'm on board for whatever you want me to do. Very Happy Very Happy Very Happy Very Happy Very Happy I've also been a lecturer at the World Steampunk Fair for the last 2 years...for Nikola Tesla and Jules Verne, and hope to be there in May 2017 to speak on H.G. Wells. I can spread the word on Greenkill. Also, I'm the administrator of the Electric Universe Creative Arts Group on FB and encourage people to join. My website is www.panorpheus.com also search youtube for panorpheus seminar and a video promotion for my seminars and books can be seen there.
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Tantroniq



Joined: Oct 18, 2005
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PostPosted: Wed Sep 14, 2016 5:29 pm    Post subject: general thoughts Reply with quote  Mark this post and the followings unread

I agree we should focus on what we really want to keep and then consider what we wish to add.

The venue sets the tone for a retreat. That is what EM has ended up being, which is great.

If we continue on the premise of what is working which is

- supportive enthusiastic participants
- a large knowledge base
- a place to tinker (like with the modular set up in the jam room)
- a place to have great conversations with a likeminded group
- a place to perform as well as experiment with performance ideas

we might try to "add" things that actually build on what is working.

Drew had a _fantastic_ idea (I think) which merges Andrews idea of bringing in some fresh blood: a mentorship/artist in residence component.

So lets say we take someone like ahem Jack Tamul or ahem Mario enrique Paoli (no pressure guys) and have some students come in to join the group for the purpose of taking in what they have to offer while we get to watch and listen. They in turn get to do this in a supportive retreat setting.

While its great to have visiting artists who come in for a day or two, they arent part of this kind of co-op thing we have forming. This would basically weave another thread into the fabric of what we have going on and (I think) make it stronger.

Running with this idea now: The artist in residence could do one seminar for all of us, one performance slot, and hold one open workshop for his/her students. Students could present their work and get feedback from all of us. Written anonymous feedback forms are one great way to do this. We all know its hard to take in feedback right after a performance. This way they get to take it home and ponder.

What this would accomplish is it would

1) keep what we have that is great
2) add a new kind of participant to the mix
3) embed the artistry of the artist in residence into EM and positions EM Greenkill as a special offshoot for the purpose of brewing and sharing ideas with people devoted to that cause.

Everybody wins if we can pull this off.

Thoughts?

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Tantroniq



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PostPosted: Wed Sep 14, 2016 5:50 pm    Post subject: more thoughts on the artist in residence/mentor component Reply with quote  Mark this post and the followings unread

I wanted to add that because participants already dont get paid, and everyone who participates contributes, the format overall does not need to be changed.

While the idea of a public concert has been bandied about, I feel its an awkward addition because of the venue location.

I can tell you from having been lucky enough to attend an MFA program that had a retreat like quality (granted it was a butt buster at 8 weeks and it was a degree program) is that the thing I heard over and over that was the holy grail that everyone wants but few get is the RETREAT.

Not everyone gets to go to Yaddo.

Noone DOESNT need a break from regular life to engage with their creative bliss. I feel EM Greenkill has become this retreat for a reason. And its working. People leave feeling inspired and recharged.

The artist in residence / mentorship component would take that up a notch in that we would get to share what we do with them and they in turn get to show us what they care about. Everyone involved cares and is invested.

Especially if we can get either of the two people I mentioned to do this for us. But Im sure there are other potential candidates who are also already connected to EM or have wanted to be.

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laura woodswalker



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PostPosted: Wed Sep 14, 2016 7:04 pm    Post subject: Reply with quote  Mark this post and the followings unread

"what could be better"? Instead of just beer, sell some Candy too! Very Happy
Also, when I tell people I'm going to an electronic music festival, they think there will be Reps from companies like Moog & Novation. Why not invite a vendor or 2? Here we have a big festival full of folks who are just drooling to acquire some new Gear. Everyone is in the mood to buy stuff and all there is for sale is a few swap-meet pieces. People would love a chance to try new stuff. You never really get a chance to put your hands on the new gear except for a few things at Guitar Center.

Also, Andrew, basically repeating what I said on the FB page, I'd like to volunteer as a Visuals Person along with Steve Mokris who seems willing to continue. I just need to get a projector (if anybody has one for sale) & download a copy of Resolume.
Also, I have desktop publishing skills & could help with publishing the program booklet if you'd like.

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egw
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PostPosted: Thu Sep 15, 2016 7:09 am    Post subject: Reply with quote  Mark this post and the followings unread

Great idea, Tanya!
We actually had something similar this year, with Mike Hunter's modular workshop. He brought the gear so that beginners could particiapte, Saturday afternoon hands-on workshop, and a performance by the group on Sunday.

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Tantroniq



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PostPosted: Thu Sep 15, 2016 11:24 am    Post subject: Reply with quote  Mark this post and the followings unread

I loved the modular setup in the jam room. That was great. I did not catch it was part of the other events but I was distracted. I would like to see that again next year too.
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egw
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PostPosted: Thu Sep 15, 2016 11:36 am    Post subject: Reply with quote  Mark this post and the followings unread

Also in previous years we had Zero Input Mixer and Circuit Bending - both hands-on workshops with subsequent performances.
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Tantroniq



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PostPosted: Thu Sep 15, 2016 2:29 pm    Post subject: Reply with quote  Mark this post and the followings unread

What I am thinking is that adding a new artist in residence attracts new people for a new set of reasons that can easily be blended in with what we have going on.

So take someone like Mario and lets say he brings in 5 people who are interested in this. If the mentorship component works out it becomes a draw for new people who wish to uniquely benefit from this Greenkill setting and format.

Again, not much out there in the way of retreats like this where one can get into multiple workshops and/or work with a mentor.

Commonly "student" "mentor" "enthusiast" "experimenter" etc are all mutually exclusive terms. How cool would it be for the young electronic composer in an academic setting to see what people totally outside that setting are capable of doing and having fun doing it?

It would be a great opportunity.

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shivasongster



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PostPosted: Thu Sep 15, 2016 3:01 pm    Post subject: I don't often post here, but when I do, I hope it is helpful Reply with quote  Mark this post and the followings unread

Over the 7 years that I have attended EM at Greenkill, the thing that keeps me coming back is the community, learning, free flow of ideas. So I hope that whatever comes of 2017, these elements are retained. The workshops keep getting better, and I think that has been a great trend.

Any criticisms I've had have been in the following areas. I think many know my position by now. But for those that do not, I will list them here:

- Greenkill is nice, but it is a dated facility. It was bearable this year, but they seem to be putting their money into silly things like making the cafeteria more difficult to navigate, while they continue to have toilets that aren't fully bolted to the floor. This just drives me nuts. Leaky faucets and insane hand blowers right next to dorm rooms... I just think we can somehow do better.

- The performance rooms are still nice. Some volume issues in Stage 2 this year, and mid-range issues Stage 2 is also plagued by cigarette smoke. I really wish we'd come up with an amicable solution there to respect the smoker's rights, but non-smoker rights to breathe.

- Food was decent this year, so I can't complain, but some of the vegan/vegetarian folks noted there were not protein options.

- Better drink options, either by the venue or by EM staff would be nice. Iced tea anyone? I forgot there was a fridge, or I would have brought some. I would pay a reasonable price to have this available. I do not drink beer that much, and soda's not a healthy alternative - and they are both overpriced.

- Rooms are so-so... I've done everything from the old dorms (pretty bad), to Greenkill (decent), to my car. Sometimes my car was better. But we all know you don't go there to sleep. I can't justify a hotel (yet). Best you can do is bring some sleep aids and suck it up. But the top-bunks are tough, and I wish they'd limit three people to a room just for safety.

In general, I'm not attached to Greenkill in anyway, but I understand that it might not be feasible to find another place that is better for the price. I've often wondered why there aren't more possibilities in the Philly area, since many people come from there anyway. Surely there are other camps.

Depending on the timing of other events in my life, I may be to prepare a workshop on a number of topics (I've done Second Life, web marketing, Propellerhead Reason and Pitt Modular before). I usually base my workshop offerings on something that I am passionate about at the moment, which admittedly changes Smile

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laura woodswalker



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PostPosted: Thu Sep 15, 2016 3:07 pm    Post subject: Reply with quote  Mark this post and the followings unread

I also wonder if there are any camps closer to philly. I would love it, but surely we would pay big bucks for them.
I personally am very attached to the Greenkill site because there is a beautiful walk around the lake, plus an awesome hike up to the ridge where you can see an overlook to the whole valley. This makes it feel like a vacation, and I highly recommend the walks to anyone as an antidote to being in front of a computer all day.

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Acoustic Interloper



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PostPosted: Thu Sep 15, 2016 9:06 pm    Post subject: Reply with quote  Mark this post and the followings unread

egw wrote:
Also in previous years we had Zero Input Mixer and Circuit Bending - both hands-on workshops with subsequent performances.

ZIM has gone really well over the last 4 years, including the last 2 in which we workshopped Saturday AM and played Sunday AM. Last year, Howard requested an evening performance.

I couldn't make it this year because teaching college Friday, Monday, and EM-related student research has got me swamped. Being exhausted for teaching and a week behind on preps saps some of the fun out of going to the event. But, as I stated on FB, I could drive up Saturday AM, do the workshop, lead the ensemble on Saturday night, and be home Sunday in time to recover for work on Monday.

I can't let my students down or drag myself down, but Saturday ZIM AM workshop-->PM ensemble performance is eminently doable. Maybe I can get some students to come along. Cool

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Acoustic Interloper



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PostPosted: Thu Sep 15, 2016 9:17 pm    Post subject: Reply with quote  Mark this post and the followings unread

I am thinking along similar lines for the next Kutztown University Computer Music & Visualization Conference, by the way, having a workshop and research session in using a planetarium for immersive visuals and spatial sound, followed by performances a year later. Probably summer 2018->2019, only because I have a lot of travel pending summer 2017. It has to be in the summer.

It is inspired by the fact that I was one of six invited to the 2nd VA Tech Massive Spatial Sound Workshop, with one goal of educating performers for Cube Fest, and more long-term for proselytizing spatial music. I am writing a grant proposal to beef up the planetarium's spatial sound system this fall. I hope to follow the VA Tech model. Somehow, I have to integrate collegiate and socio-aesthetic goals. It is a work in progress. Cool

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laura woodswalker



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PostPosted: Sat Sep 17, 2016 5:29 am    Post subject: Reply with quote  Mark this post and the followings unread

I posted something in a thread called "general thoughts" but I'd like to post it here too.
Pie in the sky dreams of what we'd like can be a distraction from the real nuts & bolts of keeping a festival going. I'm concerned about down to earth questions such as "how are we going to replace the equipment which Greg & Hong won't be bringing?"
Is there an expense account for the e-m "organization' or is all of it 'privately owned/financed'?
For instance: the visual equipment in the 2nd room. Who supplies it, who finances & shops for it

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MusicMan11712



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PostPosted: Sat Sep 17, 2016 5:41 am    Post subject: Reply with quote  Mark this post and the followings unread

[removed due to personal reasons]
Last edited by MusicMan11712 on Tue Nov 15, 2016 8:53 pm; edited 1 time in total
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Acoustic Interloper



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PostPosted: Sat Sep 17, 2016 7:42 am    Post subject: Reply with quote  Mark this post and the followings unread

laura woodswalker wrote:
I posted something in a thread called "general thoughts" but I'd like to post it here too.
Pie in the sky dreams of what we'd like can be a distraction from the real nuts & bolts of keeping a festival going. I'm concerned about down to earth questions such as "how are we going to replace the equipment which Greg & Hong won't be bringing?"
Is there an expense account for the e-m "organization' or is all of it 'privately owned/financed'?
For instance: the visual equipment in the 2nd room. Who supplies it, who finances & shops for it

Greg will know where the B Room gear came from this year. I brought it and the workshop projector every previous year; it belonged to Kutztown University. However, since I can't make entire weekends any more, I won't be doing that. Also, I don't have the van to haul it any more.

I will announce individual participant equipment needs for any Saturday ZIM or similar workshop. I will bring what I need to run a Saturday workshop.

Someone else ante'd up for B room and the workshop projector this year. Greg will know. The A room also varies, since Kevin does not always come. Bill Manganaro (State Machine) donated some gear to EM as I recall (I *think*); I do not know who has that.

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Acoustic Interloper



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PostPosted: Sat Sep 17, 2016 7:57 am    Post subject: Reply with quote  Mark this post and the followings unread

I am pretty sure Project Ruori brought the A room projector (I typed Projector Ruori Shocked ), and Greg brought the B room. I brought the workshop room projector.

So, an early step is to canvas for equipment in addition to service. Howard would know about budget. I am pretty sure he paid out of pocket at times. Maybe after Greenkill expenses, there is money left over from this year. I don't know.

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newdendrite



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PostPosted: Sat Sep 17, 2016 7:41 pm    Post subject: Reply with quote  Mark this post and the followings unread

laura woodswalker wrote:

Is there an expense account for the e-m "organization' or is all of it 'privately owned/financed'?
For instance: the visual equipment in the 2nd room. Who supplies it, who finances & shops for it


As a denizen of "Room B" for years, my observation was that the room coordinator, which was always Greg, took responsibility for supplying all the necessities. Occasionally, but not often, this included negotiating with other frequent users for minor equipment needs. For instance, I usually supplied some cables, my personal stash of video adapters, and a tripod once or twice, but the coordinator was where the buck stopped for all that. I'd be surprised if the festival financed any hardware or gear.
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Acoustic Interloper



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PostPosted: Sat Sep 17, 2016 8:26 pm    Post subject: Reply with quote  Mark this post and the followings unread

Quote:
Occasionally, but not often, this included negotiating with other frequent users for minor equipment needs.

I brought a pair of KC550s for use as the PA, and a pair of KC150 stage monitors, and a KCW-1 subwoofer (which blew out last year), and numerous mics, every year from 2009 through 2015, initially in the jam room, but in the B room after the jam room shut down. Brought a big Mackie mixer most years that alternated between the seminar room and the B room. I made extra trips up there on some Thursday evenings to drop this stuff off, when I had to teach on Friday.

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newdendrite



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PostPosted: Sat Sep 17, 2016 11:13 pm    Post subject: Reply with quote  Mark this post and the followings unread

Acoustic Interloper wrote:
Quote:
Occasionally, but not often, this included negotiating with other frequent users for minor equipment needs.

I brought a pair of KC550s for use as the PA, and a pair of KC150 stage monitors, and a KCW-1 subwoofer (which blew out last year), and numerous mics, every year from 2009 through 2015, initially in the jam room, but in the B room after the jam room shut down. Brought a big Mackie mixer most years that alternated between the seminar room and the B room. I made extra trips up there on some Thursday evenings to drop this stuff off, when I had to teach on Friday.


Dale,

Laura specifically asked about gear for the visuals, not the audio gear, and that was what I was describing.
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Acoustic Interloper



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PostPosted: Sun Sep 18, 2016 5:25 am    Post subject: Reply with quote  Mark this post and the followings unread

newdendrite wrote:

Dale,

Laura specifically asked about gear for the visuals, not the audio gear, and that was what I was describing.

Sorry about that, Michael! I missed it on the first read, too. I shouldn't post when I am falling asleep.
I'm sorry

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Andrew Sblendorio



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PostPosted: Mon Sep 19, 2016 2:46 pm    Post subject: Reply with quote  Mark this post and the followings unread

Thanks for weighing in everyone!

Tanya, the mentor workshop could be very interesting, I guess I'm wondering a bit about what you're thinking the relationship would be? Would it be a masterclass where a student brings in a piece and the mentor helps them improve? Is it a ensemble under the direction of the mentor? Could definitely be a nice idea, especially to try and entice some people of a really high-caliber to be around.

Laura, as far as gear goes I have some stuff already, I have my own speakers, Greg lent me a 16-channel mixer and a screen, and I have a projector and some cables. If we got Steve Mokris to come again next year we could be mostly set, I heard there were a few other people who brought PA systems this year that didn't even use them.

I think what the equipment issue will really come down to is working with whoever decides to come next year. Since the equipment has been entirely volunteered as far as I've known, it will be easiest to just keep it that way.

Jeremy, I agree with many of your concerns. It seems that many could be easily solved, like providing a greater variety of drinks, and maybe moving the smoking area. The toilets thing drives me nuts too!!! I sat down and went "how did I forget about this" ha ha. But since they know our group there and the event really fits that facility well, I can't see moving away from it, especially not this upcoming year.
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Andrew Sblendorio



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PostPosted: Mon Sep 19, 2016 2:54 pm    Post subject: Reply with quote  Mark this post and the followings unread

Not to change the direction too much, but Greg has mentioned wanting to differentiate electro-music at Greenkill from the other events, the easiest and most obvious way would be a slight name change. The ones I have thought of that seem to capture our aesthetic are:

North-Eastern Electro-Music
Electro-Music Retreat
Electro-Music Conference

Any other ideas? Any votes from the above?
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egw
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PostPosted: Mon Sep 19, 2016 7:40 pm    Post subject: Reply with quote  Mark this post and the followings unread

I like the idea of billing it as a retreat, which is the biggest differential from the other electro-music events.

Concerning the location, we searched all around PA, NY and NJ before settling on Greenkill. Really there was nothing else that met our needs, though admittedly that was 7 years ago. There are several factors that made Greenkill a success that are difficult to find elsewhere. Happy to discuss this more if anyone finds a candidate site.

Concerning equipment, I think this has mostly been covered, but I'll chime in.
This year Kevin Kissinger brought the PA and Steve Mokris the video gear for the theater. They both indicated to me that they thought they would come next year. I brought the PA and video gear for stage 2. Tom Bruce brought the monitors for the workshop/jam room, I brought a mixer. Andrew Koenig also brought a pair of monitors, we used one in the theater and one in stage 2 for stage monitors. All of the gear has always been provided by volunteers. There is no budget for anything unless you want to raise ticket prices. As Andrew S. mentioned, I donated the 16 channel Mackie mixer and projection screen we used in stage 2 this year. Assuming the people mentioned above come with their equipment, and Andrew brings a pair of monitors and a projector, I think the major gear needs are met. Other stuff I always bring are a bunch of power outlet strips and some 100 ft mic (XLR) cables (used for connection to the streaming computer). Misc items that various people can bring are assorted cables and adapters, DI boxes, lights for stage 2, microphones and mic stands.

This year we decided to put most of the seminars/workshops in stage 2. I think that worked well, as it reduced equipment needs. Also we had fewer simultaneous events which made for better attendance at both seminars and collaborations. On the downside, it meant fewer performance spots which we adjusted for by stretching the schedule a bit.

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