We have

• A discussion about Jam Sessions
  
• An application note in the wiki also called Jam Session
  

This discussion can be about the relative merits and perils of holding L1® Jam Sessions.

Let me toss out some ideas. I don't necessarily subscribe to them, but I've heard them raised as reasons for and against having Jam Sessions.
Merits:

• Create a healthy environment for listeners and performers to share some acoustic space.
  
• Nurture or rekindle an interest in live music.
  
• Foster new talent.
  
• Introduce or support live music at a particular venue.
  
• Let non L1® owners experience an L1® stage.
  
• Create a place for L1® owners to meet and share ideas.
  

Perils

• Encouraging amateurs, dilettantes and wannabes.
  
• Grooming the competition.
  
• Diluting the market.
  
• Lowering the bar for entry into the local music scene.
  
• Degrading the image of the L1®.
  

Interesting Thoughts (things that don't fit into Merit or Peril easily)

• Deploy otherwise idle resources. A silent L1® is a waste.
  
• Live Music at all costs?
  
• What to charge?
  
• Is this a form of community sponsored music?
  
• Is this a way for some of us to be patrons of the art? (altruistically sustaining and growing grass roots music).
  
• Do we have to be altruistic about it?
  

That's a start.
What do you think?

This message has been edited. Last edited by: ST,

There is a jam session locally (Lexington Ky) that has been going on for several years. It is Bluegrass based but all acoustic genres are played there. Players sit in a circle. All levels of ability are welcome. The selection of music moves around the circle, when it comes your turn, you do what you like, and the others join in.

It is a great place to play, learn, share, and listen.

Usually there is no sound equipment used, with the occasional exception of a bass amp.

The purpose is to have fun.

O..

Do a search for: Firehouse Pickers

O. That sounds wonderful.

Lately, I've been working with my 10 year old on "I Believe I Can Fly". It's a really great show tune. For inexplicable reasons, the singing notes are written right smack dab in my (extremely limited) range. Normally, I just butcher stuff we're working on together and she just glares at me or gives me the "Oh, Daddy!" look, neither of which inspires much confidence in my singing.

Anyway, we've been having a ball with this song, and now, she doesn't want to play it if I don't sing. She sings along while she plays, something I've never been able to get her to do and I don't push, because it's hard enough to play piano. So there we are, chirping away, she an octave above me.

I've been fantasizing about performing it together, and oddly, I'm really hung up on the idea of using a microphone. It just doesn't seem to fit what this is. So I've been thinking it would be better to just go naked. Then I was thinking about that stunning reference sound -- the human voice -- and how much I want our amplification systems to be true to that sound. It's a ideal that guides me. I think acoustic instruments are the same way but I'm a little less calibrated to them not being a player. I'm sure that players know.

That circle thing, O, is really a beautiful image. Long, long ago, when we were daydreaming and brainstorming about a name for the L1 approach, we wrote down the word "CAMPFIRE", not as a serious suggestion for a commercial name, but just to capture the vibe. It stuck and struck, a chord. And it comes up from time to time still.

Like now.

Ken

I was playing at a place last weekend where at the end of the night several people are invited up on the stage for a closing jam. Just a song or two.

I had my Model II alone in amongst the other conventional gear. One of the other players leaned in and said,

Wouldn't it be great if we got four or five of those things and some great players. Put them on a stage together and just let it happen? There are some great listeners here but we can't hear each other.

This was my second time out at the Loud Room

edited to clarify that my Model II was the only L1® on the stage.

This message has been edited. Last edited by: ST,

Hey, Ken:

quote:

Originally posted by Ken-at-Bose:
...the singing notes are written right smack dab in my (extremely limited) range... So there we are, chirping away, she an octave above me...

You might try migrating to a keyboard so you can transpose the song without her having to re-learn how to play it.

That would also move you, inherently, into the "needing amplification" realm -- for the keyboard, at least. But it would let you bring down the volume of the keyboard if you stayed non-mic'd with the vocals.

Then, if you did decide to try adding a mic for yourself, definitely seriously consider a light headset mic for her ... adding "mic-on-a-stand technique" to all the other stuff she's doing would likely be a distraction/obstacle.