LISTEN: Darren Nicholson, “Arkansas Without You”

Artist: Darren Nicholson
Hometown: Canton, North Carolina
Song: “Arkansas Without You”
Release Date: January 27, 2023
Label: Mountain Home Music Company

In Their Words: “’Arkansas Without You’ is our bluegrass story of romance, deception and when emotions overtake you. It’s our modern-day bluegrass murder ballad. I watch a lot of forensic files and true crime, and there are many tales like this that show the darker side of the human condition. Colby Laney on guitar and Zach Smith on bass provide a rhythmic groove that was so easy for Wes Corbett (banjo) and Billy Contreras (fiddle) to float over. The vocal tells the story, but the instruments are the props on the stage which are helping set the mood. I’m very excited this recording will be available in Dolby Atmos spatial audio. It’s a unique listening experience for sure. The tones and the clarity are just at a different level. This is my first time using Ferdinand, my 1923 Loar, as well as my first time having a song in Dolby Atmos. The new frontier of mixing!” — Darren Nicholson

Crossroads Label Group · Darren Nicholson – Arkansas Without You

Photo Credit: Reed Jones

LISTEN: Chris Jones & The Night Drivers, “The Price of Falling”

Artist: Chris Jones & The Night Drivers
Hometown: Nashville, Tennessee
Song: “The Price of Falling”
Release Date: January 20, 2023
Label: Mountain Home Music Company

In Their Words: “The addition of Grace van’t Hof and Marshall Wilborn to The Night Drivers started a new era of creativity for the band and for me personally, and our first album together showed the positive results of that. Still, most of it was recorded during the pandemic while we weren’t touring. This is our first single from our not-yet-released second album, which was our first opportunity to record as a band that has grown together, instrumentally and vocally. Everything felt more comfortable and intuitive. ‘The Price of Falling’ is an uptempo song I wrote about the up and down sides of falling in love. The arrangement is designed to highlight the instrumental give and take that feels very easy and natural to us now.” — Chris Jones

Crossroads Label Group · The Price Of Falling – Chris Jones & The Night Drivers

Photo Credit: Sandlin Gaither

Crossroads Label Group Sets a New Benchmark With Dolby Atmos

Like a lot of bluegrass musicians, Infamous Stringdusters fiddler Jeremy Garrett had never given much thought to “spatial audio.” He already had a good professional setup for home recording and playback in conventional stereo, and that seemed like more than enough. Getting into the next generation of three-dimensional sound, highly touted though it is, just didn’t seem important.

All that changed, however, as soon as Garrett actually heard his own music in Dolby Atmos, Dolby Laboratories’ surround-sound mixing process. It happened at the North Carolina headquarters of Crossroads Label Group, where Garrett records as a solo act. It just took one demonstration for him to come away a believer.

“It blew my mind,” he says. “Seriously. You can try to explain it ‘til the cows come home. But until you experience it, you won’t understand just how eye-opening it is. Stereo can give you a pseudo-in-the-room feel. But Dolby Atmos is like really being in the room, where you hear everything in depth and full spectrum from low to middle to high range. Even listening on a phone, you could tell the difference.”

This next iteration of surround sound is quickly becoming the sonic standard for the record industry’s high-rent district, with most major-label releases coming out in the format. But it’s also the new benchmark for Crossroads and its labels, Mountain Home and Organic, which is taking a far more proactive approach to high fidelity than most roots labels. Crossroads has been evangelizing about Dolby Atmos for the past year and making moves to put out all its new music in surround sound.

 

 

Of course, doing this takes major investments in terms of both hardware and time. Crossroads has gone so far as to build its own studio facility in California to do Dolby Atmos mixes and stay in control of the process. Company management is firmly convinced that this will be essential to survive, with Crossroads co-founder Mickey Gamble touting it as the future of the record industry – especially online, where the vast majority of business takes place now.

“Every single reproductive method before this, from wax cylinders to vinyl and up through the chain including compact discs, has had flaws,” says Gamble. “This doesn’t, which is why it’s important for us to be there. We still sell a little bit of physical product, but that’s mostly by artists at the table at their show. The business is drastically different now, and everything we do is aimed at increasing an artist’s streaming profile. This is just another piece of that. The time is not too far off where, if you want to have a streaming profile, it will have to be with Dolby Atmos because the technology is taking over the music business. If you can’t or won’t do it, you won’t be in the business.”

This kind of high-end immersive surround sound has long been the standard in movie theaters, but it’s only recently emerged for listening to music. Major streaming services including Apple, Amazon and TIDAL all use variations of three-dimensional surround sound — although Spotify and YouTube remain two notable stereo-only holdouts (and for that reason, Mountain Home continues to do conventional stereo mixes of its music alongside the Dolby Atmos versions).

Nevertheless, the overall trend is running toward universal adoption of three-dimensional surround sound for music, and major labels have been busily upgrading their catalogs. Among the albums that Gamble routinely plays for visitors to show off Dolby Atmos sound are Queen’s 1980 album The Game (“which I swear will take your head off,” he says) and the 1959 Miles Davis masterpiece Kind of Blue.

 

 

One metric to track surround sound’s rapid growth is the number of studios set up to mix in Dolby Atmos. There were just 30 Dolby Atmos-capable studios in the spring of 2020, but that figure has gone up to around 600 in 2022, according to Billboard. On the consumer’s end, there are also more and more playback devices for surround sound on the market, including car-stereo systems.

“The business aspect of it is huge and growing really fast, which is why we feel like we need to be in it,” says Gamble. “Personally, I’ve been listening to almost nothing but Dolby Atmos for the last year and a half – classical, jazz, rock, bluegrass, everything. And if I go back and try to listen to something in regular stereo now, it sounds dull and uninteresting. The difference is just that powerful. Without exception, every artist we’ve brought in to hear it has come out saying, ‘I want this for me.’”

To that end, Crossroads started by releasing immersive-audio mixes of its top songs of 2022, from artists such as Balsam Range, Tray Wellington, The Grascals, Lonesome River Band, Sister Sadie, and Sideline.

Surround sound is not the record industry’s first new technology to be touted as a major sonic revolution, going back to four-channel quadraphonic sound in the 1970s. But where quadraphonic failed to catch on because it required listeners to shell out for new hardware, Dolby Atmos doesn’t require an equipment upgrade to get improved fidelity (although the effect is more impressive on modern playback devices).

 

 

“The amount of immersion you get changes depending on the device,” says Crossroads Music chief engineer Scott Barnett. “But the immersive experience will scale to the system you’re listening on, automatically and in real time, whether it’s in your living room with 13 surround-sound speakers or on an iPhone through earbuds. The sound is object-based rather than channel-based – not just left or right but with a three-dimensional field. Dolby Atmos can present an enhanced experience without sacrificing any tone or dynamics.”

Another improvement that Gamble cites is that surround sound does away with the sonic compression of stereo sound, which limits the tones you can hear, and that improvement applies to any listening device. Indeed, Garrett has been demonstrating the dramatic differences of surround sound to friends using mobile phones – dialing up his song “River Wild” on Spotify stereo on one phone, and then in immersive audio on Apple Music on another. Even when heard on small phone speakers, there’s an audible difference.

“There’s a curve to go along with this, of course,” says Garrett. “It’s an extra process, and it takes quite a bit to get an entire record mixed for surround sound. But if it’s at all possible, I want every single song of mine to be in Dolby Atmos from now on because there’s no comparison. The experience is over the top, nothing else comes close.”

If Gamble has his way, that will be possible to do.

“I’ve always believed that presenting music with clarity will have an influence on listeners’ attachment,” Gamble says. “That’s true for the casual listener as well as the audiophile. What makes it dramatic are the placements in space, and the harmonics you can hear because there’s no compression. It helps music sound the same way it does if you’re standing right in front of the people playing it.”

LISTEN: Ashley Heath, “The Letter”

Artist: Ashley Heath
Hometown: Marshall, North Carolina
Song: “The Letter”
Album: Something to Believe
Release Date: October 21, 2022
Label: Organic Records

In Their Words: “I was listening to a lot of country and Americana songwriters when I wrote this song. This song was written about when you’ve exhausted every avenue of trying to fix a problem that even hand writing a letter and spelling it out wouldn’t change it. My favorite line is ‘If you had a heart to break, I wouldn’t know any better.’ I think that clearly sets the tone. The instrumentation has more of a Nashville country vibe to it with some big guitar swells and this one is probably also the most radio-ready song from the EP.” — Ashley Heath

Crossroads Label Group · 03 The Letter

Photo credit: Sandlin Gaither

LISTEN: Aaron Burdett, “Denver Plane”

Artist: Aaron Burdett
Hometown: Saluda, North Carolina
Song: “Denver Plane”
Release Date: October 14, 2022
Label: Organic Records

In Their Words: “In August of 2019 my band was flying out to Colorado to play some shows. And we found ourselves traveling alongside the Steep Canyon Rangers, who were doing the same. We had a really tight connection at Charlotte, and I remember running between terminals for about 20 minutes alongside Graham Sharp, songwriter and banjo player for their band. Both of us were lugging heavy instruments and backpacks, and we were not optimistic we’d get to the gate in time. Fortunately we did get there just as the plane doors were closing, and I made a note during the flight with a song idea about ‘running with the Rangers.’ As often happens, it took me a year or two to flesh out the full song, and we finally recorded it in the spring of 2022. Here’s where the story gets interesting, though. In June of 2022, quite unexpectedly, the Rangers contacted me about the possibility of joining them, and now, as I write this in the fall of 2022, I’m actually a full member of the band, ‘running with the Rangers’ on a weekly basis. You can’t make this stuff up!” — Aaron Burdett

Crossroads Label Group · Denver Plane – Aaron Burdett

Photo Credit: Sandlin Gaither

LISTEN: Bluegrass at the Crossroads, “Cricket” (Feat. Gina Furtado)

Artist: Bluegrass at the Crossroads
Song: “Cricket” (written by Jon Weisberger and Justin Hiltner)
Album: Bluegrass at the Crossroads
Release Date: September 23, 2022
Label: Mountain Home Music Company and Organic Records

In Their Words: “Justin Hiltner brought this song’s idea and first verse — inspired by watching his cat, Porkchop, playing with a wounded cricket — to a co-writing session in the fall of 2020. I was reminded instantly of the old fiddle tune, ‘Cricket On the Hearth,’ and that put us in an old-time mood that dictated the lyric’s ‘countdown’ format and the music’s structure, with its instrumental-only second part. A few months later, when I started looking at material for the third of our Bluegrass at the Crossroads collaborations, I remembered the song and thought its lyrical whimsy and musical flavor would fit Gina Furtado well. Thanks to her fine singing and some great playing by the entire group — Gina, Chris Davis of the Grascals, the Travelin’ McCourys’ Cody Kilby, Sav Sankaran from Unspoken Tradition and the always amazing Andy Leftwich — it turned out to be one of my favorite tracks from the whole project.” — Jon Weisberger, producer

“When Jon Weisberger told me that he and his co-writer, Justin Hiltner, thought I’d be a good fit for singing ‘Cricket,’ I was very flattered. There is a gleeful obstinance in the mood and lyrics that really cracks me up, and I can absolutely relate to that sentiment. It was super fun recording this one, especially with such a great band lineup!” — Gina Furtado

Crossroads Label Group · 10 Cricket

Players: Chris Davis – mandolin; Gina Furtado – banjo, lead vocal; Cody Kilby – guitar; Andy Leftwich – fiddle; Sav Sankaran – bass
Photo Credit: Sandlin Gaither

LISTEN: The Alex Leach Band, “Together (We’re Going All the Way)”

Artist: The Alex Leach Band
Hometown: Jacksboro, Tennessee
Song: “Together (We’re Going All the Way)”
Album: All the Way
Release Date: August 19, 2022
Label: Mountain Home Music Company

In Their Words: “A few months ago I was in my office working on writing some new material, and after playing around with many ideas, a certain melody just kept coming back to me. It was catchy so I decided to write some lyrics with it. It was actually one of the easiest songs I’ve ever written! The words started flowing freely as I pictured being on the road doing what I love with the band, mixed in with some deep thoughts about my personal life, and thinking about how amazing this world would be if we all viewed one another as a brother or sister, even if we all don’t see eye to eye on things. Life is a journey so let’s stand beside one another and enjoy the ride together!” — Alex Leach

Crossroads Label Group · 01 Together (We’re Going All The Way)

Photo Credit: Sandlin Gaither

LISTEN: Fireside Collective, “When You Fall”

Artist: Fireside Collective
Hometown: Asheville, North Carolina
Song: “When You Fall”
Album: Across the Divide
Release Date: August 5, 2022
Label: Mountain Home Music Company

In Their Words: “‘When You Fall’ is a song about unconditional love. I wrote this song for my daughter, right before her first birthday. Literally catching her as she’s learning to walk and knowing that as she grows older, no matter what roads she chooses to walk along, I will support her and be there for life’s inevitable ups and downs. From a sonic standpoint, I wanted the song to be a gentle yet dynamic musical journey. It moves along like a classic bluegrass song, but has undertones reminiscent of Nickel Creek and Crooked Still. This song serves as a message of comfort to all those who strive to grow each day and when faced with a difficult challenge, push on knowing somebody loves them no matter what.” — Jesse Iaquinto, Fireside Collective

Crossroads Label Group · 01 When You Fall

Photo Credit: Jace Kartye

Tray Wellington Shares a List of Banjo Players Thinking Outside the Box

North Carolina musician Tray Wellington is fresh off a nomination for this year’s IBMA New Artist of the Year, following the release of his full-length debut album Black Banjo. Still in his early 20s, Wellington pulls from a myriad of influences — on his latest album he cites jazz as the major influence of his progressive bluegrass style. Many other banjo players of this younger generation are using the influence of genre and blurred genre lines, adapting and subverting narrative and traditions, and utilizing sheer unrestrained creativity to operate outside the traditional confines of the instrument.

In honor of BGS Banjo Month, Wellington gathered a collection of current artists who are thinking outside the box, creating their own voice on the banjo in new and innovative ways, and striving to make the banjo a better-known and appreciated sound.


Photo Credit: Dan Boner

We’re giving away a Recording King Songster Banjo in honor of Banjo Month! Enter to win your very own RK-R20 here.

LISTEN: Acoustic Syndicate, “All In Time”

Artist: Acoustic Syndicate
Hometown: Shelby, North Carolina
Song: “All In Time”
Album: All In Time
Release Date: July 15, 2022
Label: Organic Records

In Their Words: “This song has a great story. I sat down one warm, sunny afternoon last fall and wrote this song down in about 15 minutes at my kitchen bar. It literally flew out! I had the chords all figured out, wrote the lyrics down, sang through it three or four times, then got up to go outside for a minute. When I came back…it was gone. I had the words there, the chords were all there, but the original rhythm was gone. I never got it back. To this day, I still haven’t stumbled back on that exact, original rhythm, which was kinda genius, if I may be so bold. I even went to Jay’s house one day and we searched for that original rhythm, based on my words, for like an entire afternoon. Nothing. What I wound up doing was recording a really square, very uninteresting demo one afternoon, after finishing up some of my other vocals at Crossroads Studios. I took that, passed it around to the fellas and we all thought about it for a couple of weeks.

“By the time we got together for rehearsals, I had somehow come up with an alternative rhythm that wasn’t so square and a little off-beat and wide open with tons of space. I left these spaces for Fitz to fill with selective, tasteful and powerful drum fills, eventually culminating in a giant yet tangible and driving rhythm. Serendipity! As luck would have it, we actually made one of our strongest tunes to date. I am very proud of this track, and grateful for Fitz’s magnificent drums, and Jay’s soulful, intimate and emotional bass work. It is important to note here that on the day that Jay recorded his solo — literally right before he walked into the booth — we had just learned of the passing of Taylor Hawkins, longtime Foo Fighters drummer and lifelong best friend of Dave Grohl, of Foo Fighters and Nirvana. Jay said he was doing that solo for Dave. (Read more below the player.)

Crossroads Label Group · 01 All In Time

“The words are just my account of needing to catch my breath. I have many character flaws. One of the worst is my perpetual propensity to commit myself to absolutely more than I can do on a daily basis. The job, the band, the farm, and until recently, aging parents… all of it. I always get myself with my back to the wall, and I always swear to myself that I will never do that again. I do it anyway…like the next day. All too often, I find myself completely overwhelmed, in a panic and exhausted. Many are the days that I forget to just pause, look around, breathe the air, appreciate my surroundings, have gratitude, recognize the love that I have in my life and try to turn down the volume of living for a moment. To quietly contemplate where I am, as an individual, where we are, as a people, and where all of this may be headed.

“‘All In Time’ is also a reflective appreciation for something my dad, Joe, would say when the times of the world become frightening, chaotic and without direction, like they are now. I’ve come to lean on these words more and more in recent years…now, more than ever: ‘When things become uncertain like this…when the world seems like it’s out of control and we can’t help but be scared and anxious about the state of things…no matter how bad it gets, unless there is something we can do about it, we just have to have faith, be patient, keep on doing the best that we can…and trust that people will eventually do the right thing in the end.'” — Steve McMurry, Acoustic Syndicate


Photo Credit: Sandlin Gaither