Need a gift for a gifted musician?
Devin Butcher / Wigly WombaT:
A WIGLY BIOGRAPHY:
- 1997 dance music is discovered in the form of Airwave by Rank 1.
-Wigly WombaT's ears are glued to the 4/4 beat and the sounds inspire...
- Working in nightclubs age 18-22 produces opportunities to experience some the best DJs in the world work a crowd.
- Age 23 moves to Clarkesville, TN where like minded dance music enthusiasts exist and are welcoming.
- This spawns desire to produce an online radio show called: Nocturnal Beat with none other than: Papa Bear & JT Groove.
- Wigly WombaT is mentored into the action of mixing a room.
- The art of the mix, the fire of working to create energy, making you dance...
...The Drive of Wigly WombaT...and so it continues...
...THE WOMBAT VIEW OF ELECTRONIC DANCE MUSIC:
-Many like to belittle producing and mixing Electronic Dance Music simply because it can be rapidly conjured halfheartedly by any individual with a general knowledge of their favorite Digital Audio Workstation, some pre-produced and in many cases mass distributed loops, and an average understanding of a given genre's song structure.
-However if done genuinely, uniquely, and for the purposes of sound creation, this is what it really is:
-Producing and mixing Electronic Dance Music is not just art, but a multifaceted entity which encompasses a cyclical creation to performance array of aspect features. To produce music is to essentially start as a scientist creating, testing, and evaluating different sound frequencies within the audible range in an effort to establish a unified pallet of sounds to be used for the given piece of music's construction. Then to create a symphony ensemble consisting of the constituents built, that will be used to perform the given piece of music. Then to be the composer of the given piece of music (not only writing the notes, melody, bass, treble, breakdowns, drops, time signatures, tempo, tempo changes, dynamics, rests, keys, and progressions), but also to create different variations therein for the maximum idealized impact possible (which can always be further diversified upon realization by the artist or other future artists who may decide to remix the given piece of music.) Then to again be a scientist when compressing, limiting, adjusting levels, and ultimately maximizing the impact of the different elements of the given piece of music relatively, subjectively, and objectively to be produced by speakers as flawlessly and as accurate to the artist's mind's ideally imagined sound as possible. Then to be the conductor of the music when playing/performing the given piece of music live; deciding how fast or slow it will be played, when and how it will be mixed, how loud or soft it will be played, and deciding the equalization levels of the high, mid, and low frequency ranges that will bring out the piece of music's key features most significantly. Then to be the re-mixer by possibly creating loops, adding fx, playing the given piece of music with another piece which compliments its assets in specific areas, or even producing a mashed up version which further adds depth and pizzazz to the final piece of music by uniting one to multiple additional pieces of music's key elements embedded permanently prior to its on stage performance. Finally creating an amusement ride of emotion and feeling through the physical forces of longitudinal waves known as sound while conducting the fleet of musical pieces within the conductor/mixer's arsenal, body language and complimentary visual fx add the final touches of essence to the fully formed auditory/visual art performance experience known today as Electronic Dance Music, commonly referred to as "EDM" (Wigly WombaT 11/12/13.)