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Chris White, who (together with Mickey Gamble) leads Crossroads music, graciously agreed to submit a guest post going into detail about how material is selected for the NQC Live series. He addresses a number of issues raised in this post.

Crossroads has partnered with NQC for the past seven years to produce NQC Live.  My responsibility is to provide all of the audio for television and retail products for the event.  We do this at our cost, then receive the rights to produce this product in order to help re-coup our cost and hopefully, make a profit.  NQC is only partially involved in these selections with most of the determination being mine.  Once I satisfy their requirements, the rest is pretty much up to me.  Daniel, in light of the comments I read, I would like to address a few of them so your readers better understand the elements that go into producing NQC Live.  It might also help them understand that many things that happen in the business that seem strange to them, very often have a valid reason that makes sense with awareness.  Not always, but most of the time.  I will address some of these questions in the order they were written.  First I would like to give an overview of the process.

First off, my only selection options are from Thursday through Saturday.  That’s when the video production is upgraded from Monday through Wednesday.  So, my choices have to be taken from the last three nights of convention.  I have about one week after convention to decide what this product will turn out to be.  I am required, by NQC, to have this product to them by the first of December and on the retail shelves by December 15th.  That is simply part of the contract.  This is to capture some Christmas sales and get them the product to sell to their direct buyers.  So, I have about a week to review all the footage, listen to the best of the best audio and make the selections.  Audio is critical because there is no time to fix anything other than some tuning.  Therefore, sometimes selections will make it or not, based on the audio performances.  Some will or will not make it because a group you want…does a cut you want…and they’re on at 11:00.  Many times there are hundreds, if not thousands of empty seats in the arena.  We trim lighting as best we can to cover that but many times we just can’t cover all the emptiness.  Camera’s can’t put people in seats and I’m not going to show a half empty building.  I wish I had a month to do all this review but it has to be to our engineers no later than a week or so after convention is over.  That takes another 6-7 days of mixing and fixing what we can, then it goes to video editing…then manufacturing…retail set up and shipping to other distributors and stores.  At Crossroads, we normally have 4-6 months to start and complete a project before it hits the shelves.  With NQC Live, I have about 4-6 weeks to prepare it for market.  As you can see, there is little wiggle room on the timeline.

There are a lot of reasons and constraints that help determine these selections and I’ll mention some of those in my response to your readers.  One of those is royalties.  Last year we moved the retail down to $19.99, including the free CD.  With every move I make, I am doing my best to be aware of total cost including event investment, manufacturing, packaging, royalties..both audio master licensing as well as video sync royalties and….any other cost associated with the project.  So, every element that appears on the project, has a cost associated with it.  Therefore to be profitable, there is a thin line on what all can make the project based on every element having two cost associated with each cut.  Those are master licenses and sync.  Considering our discounts to other distributors and retailers, making a profit on a $19.99 retail piece of product, containing all these elements, can be challenging.  If I could load up the project with everything people would like to see, including me, we would have to retail it for at least $29.99 and trust me when I say….that won’t fly!!

Now just let me address some of the individual statements made by you and your readers.  Daniel you say there are only 12 songs on the project when in years past, there have been 15.  Actually in some years there were more than that.  However, as economies change, I have to change with them.  For example, master license fees can increase….which they have…. as well as negotiated sync royalties.  There were in fact 14 songs on the project, including the bonus footage and the comedy segments by Tim Lovelace, Aaron Wilburn and Ken Davis.

Let me explain why Save Me A Seat didn’t make it, which is one of the songs you mentioned.  Jeremy is my nephew through marriage.  I would have loved to have included that cut because he is a family member and he and my niece Nikkei, have been through a tuff couple of months of losses.  First my mom died and then right behind that, Jeremy looses his father.  So trust me when I say that it would have been much more important to ME to include that, than to anyone else.  It would have meant a lot to our family.  However, I couldn’t include it because that was the cut I used from Brian in 2007.  I made the mistake a few years ago of repeating a song the following year.  One out of 15 was a repeat and “some good Christian people” got so angry over the mistake, they returned the product for a refund!!!  So as much as I would have wanted that cut on the project, it couldn’t happen.

Statue Of Liberty.  I considered the cut for obvious reasons.  However, as moving as it was in the hall, the audio would have taken a lot of work and that was time I didn’t logistically have.  He Locked The Gates by The Kingdom Heirs.  That would have been a good choice but I had already decided that I wanted to save it for possible inclusion next year, plus it is still a strong selling component on their current project.   So, I used their top ten nominated cut from this past year, Jesus Made A Believer Out Of Me.

Let me take a moment and explain why certain cuts are, or are not, included.  Someone accused me of not wanting to promote Daywind singles that are flying up the charts.  Now let’s think that through.  Out of the 14 cuts on the project, 50% are Daywind or independent artist.   If this was all about Crossroads, I would fill up the project with our artists.  However, I try my best to make it industry inclusive.  I would love to use the “hot” Daywind songs but one must remember, I have to license all cuts from whomever owns the master rights.  They are seldom, if ever, going to license me a song that is still a strong sales component on that artists current record.  I even enforce that rule on myself from time to time…i.e. He Locked The Gates.  I submit the artists and the selected songs to whoever is the master owner.  In the case of Daywind, I have asked for certain cuts in the past, only to be turned down.  I don’t blame them for saying no but hey….I tried.  Another reason for that is that a lot of artists perform their “sugar sticks” year after year.  In a lot a cases, they don’t have a choice because that’s what people want to hear.  Do you think McCray Dove wants to do Rain or Get Away every year?  No.  But if he didn’t…people would hang him from the first balcony rail they could find.  He does it because he knows the audience wants him to.  So, when it’s all said and done, my choices become very limited because I have either used the cut before, or it’s a current hit that I cannot get licensed.  Not in every case…but in many.  So yes, if I could use the biggest..hottest..best songs available, I would.  Therefore, I choose based on my knowledge of what I believe I can get licensed and that is what I go with.  I submit those choices to Daywind, or whoever the master owner might be, for their approval.  If they approve the license, I put it on and if not…I have to go to plan B.

Now on to some of your readers comments.

Kyle comments that he is not surprised that Gaither and Ernie are not on the project.  Kyle has somewhat of a handle on it by saying we couldn’t afford it.  The fact of the matter is that I would have a better chance of getting Elvis back from the dead to appear on this product, than I would of getting Gaither or Ernie (record company) to license the footage.  Why would anyone conclude that I would not want Gaither or Ernie on the project?  That’s money!  Gaither won’t even let us record the showcase they do, much less license anything.  If any of you can pull that off for me….I’ll take it.  The entire Gaither thing is something I just don’t need to get into.

Bev say’s that she may not buy the project because of some missing people and that soloist were included.  The artists were Perry’s, Triumphant, Inspirations, (SS and Gaither have been addressed).  She was also bothered by the fact that Ivan and Janet were included saying it is a quartet and trio business.  Let me take these in order.  Bev you may be shocked, as you put it, that the Perry’s didn’t make it.  I do normally include them.  However this year, about the only thing they did that I felt was usable, or hadn’t already been used, was a song I knew would not get licensed…If You Knew Him.  So, I was left with no good choice on the Perry’s.  I love them and have known them for many, many years.  As I said, I normally include them.  This year just didn’t work out.  As far as the other artists you mention, I have to stop somewhere.  I can’t give you…well maybe I could but I’m not going to….specific reasons for all artists inclusions or omissions.  I say that respectfully so please take it that way.  You ask why Ivan and Janet were on the project.  I respectfully disagree with you that this should be all quartets and trio’s.  If that were true, soloists would not be on NQC main stage.  I made the product reflect what the NQC board booked…quartets…trio’s…soloist.  Besides, let me assure you since we represent both artists, the fans love Ivan and Janet.  They are both still strong in the market and since I am looking for name value with a proven record, they qualify.  I have already addressed your suggestion that all songs should be their #1 hits.  More often than not, that’s never going to happen because of licensing issues.

Tyler says that it’s really not a highlights video anymore.  Actually, the model of the project has never changed.  It’s always been performances from the main stage, showcase highlights, comedy and at other times, something we can get a camera crew loose to shoot….such as the softball game.  Though Tyler says that this project doesn’t nearly do justice to what NQC has to offer, I’m not sure what more I could do to include all the aspects of NQC.  Buyers want the “music” and that is a proven fact.  That’s what the project is built around.  I am open to any suggestions and would take them all seriously.  Anything that would enhance NQC Live would certainly be a plus.  I have struggled with “freshness” on this product for years but after all, it is what it is.  Just keep in mind that the constraints of contractual issues and other logistical problems, might prove prohibitive in certain situations.

Jbb says that he agrees with Bev and will not buy the product.  I’m sorry for that.  Jbb brings up a group that has not been mentioned and that is Legacy 5.  The reason for that is that I was aware that Frank was leaving and that would automatically date the product from the get go.  I included them in the bonus footage so they were at least on the project, just not listed as Leg 5.  Whether that makes sense to you or not, I don’t know.  To me, it gave them the face time they deserve, without dating the project with the coming change.  I would also say to jbb that the artists included are also what southern gospel is all about and to suggest anything other, is puzzling at best.

Andrew made a couple of comments that I will address.  As for the Collingsworth, they did do a great job.  We represent them as well so it would behoove our cause to have included them.  Why wouldn’t I want them included over another company’s artists or an independent?  However, if I had done that, someone else would have complained because someone else was left off.  Hopefully I have made the point clear that for a number of reasons, I have to stop somewhere.  In my opinion, they have another year or so to keep building name value for the sake of the retail shelves.  I do believe with the same performance level next year, which I’m sure they will deliver, they could possibly be included.  Andrew, when you say that you would pay a “lot” of $$ to see the Perry’s performance of I Wish I Could Have Been There,  so my question would be….how much money are we talking about?  That’s an exciting quote!  I can certainly get you a copy of that performance…..or you could simply buy Volume 4 which includes the cut.

In conclusion all I can say is this…..and I say it respectfully to all.  I haven’t responded because I felt fearful by all the comments.  I simply wanted to give insight to the process.  If we felt that we needed to address all the opinions, by all who have their take on our business , that’s all we would get done.  We as industry leaders often read, or are told of conversations such as this one, where some facts could maybe enlighten people who love the music and the industry.  I’m thrilled that all of you are engaged.  Whether my reasons are accepted or not is not really my concern because I can only change the opinions…or clarify the facts….to those who “really” want to understand the facts.  That’s all I hope to do with this response.  I know all of you won’t appreciate what I have tried to do here but, I think many of you will.  It’s not your fault that you don’t understand all the details concerning many subject matters in our business, because you are not always aware of the entirety of some situations.  I’m sure there are things about your jobs where I may not understand the thinking, simply because I don’t understand your entire process.  Again, all I have hoped to do here is to explain some of your concerns based on all the timelines, constraints, contractual obligations, as well as a basket full of other issues, that I am faced with in putting this project together.  I do my best every year to produce a great product, as best I can, under the aforementioned conditions.  I’m sorry that some of you are so disappointed in the final product.  It took a mountain of work, by a lot of people, to make it happen at all.  To those of you who will enjoy the product….good listening.  Thank you.

Chris White
Crossroads Entertainment & Marketing

There’s word the National Quartet Convention is considering a move to Indianapolis, Indiana, effective next year. Apparently a move to October next year (and November the following year) is also under consideration.

Would such a move affect your plans to attend?

Just for fun, since I don’t have anything more serious on my mind today, I thought I would post my most embarrassing NQC moment.

Apparently (as I hear) at the urging of Blackwood Brothers bass singer Randy Byrd, my fellow blogger Aaron Swain put together an impromptu Southern Gospel Bloggers Quartet. He sings bass; the other three of us (David Bruce Murray, Nate Stainbrook, and yours truly) sing baritone or lead. We had no tenor.

Well, I believe my comfortable range is the highest, but it just as certainly is not a natural tenor. But I foolishly agreed to sing tenor anyhow.

So we stumbled through a rendition of Boundless Love. I did especially poorly; remember …that I was singing tenor and I’m not one. Anyhow, it was bad enough that the person in the booth next to our home base (the SouthernGospelForums booth) peeked through the curtain to see what the racket was.

Brian Free.

Danny Jones has a thought-provoking post about how most NQC booths are torn down early on Saturday (or, in 5%-10% of cases, Friday).

Though this might matter less to people there all week, like me, or people who are there Thursday-Saturday, he pointed out that this keeps the Saturday night attendees (well over 1/6 of the total), many of whom can only come for Saturday night, from being able to purchase projects by many of their favorite artists.

Fact is, it can cost artists sales from people who are there all week. Gold City inadvertently lost a sale to me (and not just a $10 one) by leaving early; I was hoping all week to purchase their Heritage Collection Vol. 2 DVD set, but had to wait till the week was over to see if I had enough money. By the time I made it to their booth early Saturday evening, they had torn down and headed out for the week. Maybe I can get it next year, but I have no idea if I’ll be able to get Tim Riley’s autograph then.

Understandably, many groups want to schedule weekend dates to recoup the costs of an NQC booth. And it would be hard to force them to stay–short of posting armed security guards, an idea Jones suggests and rejects as implausible.

If it’s worth encouraging artists to stay, there is a simpler way. NQC could charge artists $200 extra for a booth (roughly 50% more than the current rates, I hear), and announce and put it in the contract that the directors will walk around immediately after the finale ends and refund the deposit to groups that stayed it out.

Even then, it physically won’t be possible for many groups to stay. But perhaps a $200 refund would be an added incentive.

Agree? Disagree?

Due to time constraints, I will have to keep this post brief.

The Cathedrals Remembered showcase in the afternoon was spectacular. Since I got there early enough to get a front row seat, I decided not to take notes, as that would look odd on film. I plan to discuss the concert in more detail, adding observations from seeing it in person, once the DVD comes out later this year.

A complete list of Fan Awards winners is here. Overall, there was little surprising enough to be noteworthy in most categories; in many of the categories, the person who won the award last year won it again this year. There were a few notable exceptions:

• Triumphant Quartet picked up their first Male Quartet of the Year win.
• Their bass singer, Eric Bennett, won Bass Singer of the year for the first time.
• Perrys lead singer Joseph Habedank won his first fan award, Young Artist.
• Libbi Perry Stuffle won Favorite Alto for the first time in three or four years. The Habedank and Stuffle wins show that the Perrys’ current lineup (well, particularly the Habedank/Stuffle combination) has now been together long enough to build the kind of connection with their fans that they had in the Stuffle/Loren Harris days.
• The Crist Family won Horizon Group of the Year. This was particularly thrilling for me since I had spent the week updating their website (among several others, none of whom were also up for the award).

Quite honestly, after Fan Awards ended, I took Saturday night off and (during those times I was able to be in Freedom Hall) just sat back and enjoyed the songs. Two highlights that stick out in my memory are the Kingdom Heirs’ “He Locked the Gates” (a much stronger response than earlier in the week) and the Perrys’ “If You Knew Him.” There was applause when the soundtrack kicked off, more when Joseph started singing the first verse, more at the end of the first and second verses, and a standing ovation by the bridge. This song seems on the verge of defining this iteration of the Perrys—the song people will remember this lineup by.

NQC 2009 was an incredibly long but also incredibly enjoyable and memorable experience. In addition to all the posts I did on this site and on other sites, I also did a fair number of feature interviews, which you will get the chance to read in the coming months. Thanks for tuning in!

Here is a video Rich Crist took for the Crist Connect website:

My day started with the Song of a Lifetime showcase. The original Couriers’ rendition of Statue of Liberty was probably the high point of the set. Dave, Duane, and Neil (as the group is now known after passing the name along to another group once they originally came off the road) delivered a magnificent performance with a lush orchestral Lari Goss-produced track that had the audience on its feet by the first chorus.

Rodney Griffin told the story behind a sermon his father preached that inspired “He’ll Carry Me”: “Today I carry you to Your grave; soon You’ll carry me from mine.” The song also received a standing ovation. Jacob Kitson’s voice was so perfect for the song that one cannot help but hope that Greater Vision would see fit to re-cut the song with his vocal at some point.

Triumphant Quartet involved the audience in a handkerchief-waving toe-tapping rendition of “Old White Flag.” Dianne Wilkinson, the song’s author, did not speak until afterward. Initially that seemed odd, but the reason quickly became evident when she presented him with a framed version of the piece of paper upon which she originally scribbled down the song idea and lyrics.

After the Couriers’ virtuoso performance at the showcase, their set on the main stage was a must-see. And what can I say? Three songs, three standing ovations. They started off with their classic a capella arrangement of “I Sing the Mighty Power of God,” receiving a partial standing ovation. “One Nation Over God” got a virtually unanimous standing ovation. As I expected, they closed with “Statue of Liberty,” and the audience was on its feet before the end.

Greater Vision sang immediately before the Signature Sound / Gaither Vocal Band set. Probably the highlight was Gerald Wolfe’s rendition of “There Is a River,” set up by a humorous story of how a lady had quit begging him to sing the song each year and started threatening him that she wouldn’t come back if he didn’t. He said that he told her that the song was so long that he was afraid the program would run over and he would get fined. He asked if she would be willing to pay the $200 fine (for running two minutes over). She said she would. So he asked her if she’d pay it in advance, in case he couldn’t find her afterwards.

Before Signature Sound came on stage, Gordon Mote played an uptempo rendition of “Give The World a Smile.” Mote isn’t a convention-style pianist, and even when he plays something close to convention style, it still has a different feel from when a Stewart Varnado, Bryan Elliott, or even Anthony Burger takes the lead.

Signature Sound sang much the same set they did at the Together showcase. This time, though, they started with their recent hit single, “Reason Enough.” Ernie Haase did give a more detailed introduction to “Wonderful Grace of Jesus,” describing a recent Opryland performance where they sang the song.

Then, in one of the most fascinating transitions in NQC, Doug Anderson sang several lines of a verse to “Reason Enough,” before Ernie Haase started into an acoustic piano-and-voice rendition of “Oh, What a Savior.” A little further into the song, the rest of the Gaither band kicked in, and the soundtrack was punched in for the final ending. It was a fascinating, best-of-both-worlds setup, with the spontaniety of a live song and the orchestra for the big ending.

Signature Sound closed their set with “Amen Chorus,” involving the audience in the fairly simple chorus while Tim Duncan, Ernie Haase, and Doug Anderson sang the solo lines.

The Gaither Vocal Band opened with a song that was probably the single most discussed event of the night: “I Believe in a Hill Called Mount Calvary.” Wes Hampton sang David Phelps’ verse…and, with an astonishing authority, his high tag for the big ending.

Another highlight was hearing Gloria Gaither sing live for the first time. I have probably heard her give recitations at previous Gaither showcases at NQC, but after her recitation on “Something About That Name,” she sang with the Vocal Band for the rest of the song.

Bill Gaither and Michael English closed the set with “Worthy the Lamb.” It wasn’t Guy Penrod, and maybe it wasn’t quite as awesome. But to be almost as breathtaking as Penrod on that song is amazing.

Speaking of Penrod: He is here at the National Quartet Convention. He got in last night, and word is that he will be appearing at the Featured Artist Spotlight showcase in the showcase some time between 12:30 and 4 PM.

The Booth Brothers had a strong set, with a good mix of slow songs (”Look for Me,”) recent songs (”Blind Man” and “Tradin’ The Old Cross”), and a group classic  (”Still Feelin’ Fine.”)

The Diplomats only got one song (”That’s What Heaven Means to Me”), but they pulled out all the stops, pulling in Zane King to play steel guitar and the Hoppers’ bus driver (whose name escapes me) to play rhythm guitar.

The moment I wish I’d caught was when Brian Free & Assurance featuring Jeremy Lile on “Save Me a Seat at the Table.” Lile’s father had passed away earlier in the week. The funeral was that day, and he arrived at Freedom Hall less than an hour before the group’s set. I did catch the song on the live screens in the vendor’s hall. He was choking up in the first verse, but recovered to turn in a strong performance for the remainder of the song. He choked up again in the final tag, but by that point he had already turned in such a strong performance that he received a prolonged standing ovation.

One day to go!

Seeing the Gaither Vocal Band / Signature Sound Together showcase was an unforgettable experience–not least because I got in early enough (two hours before the concert started) to get a front-row seat. Seeing David Phelps hit a high note on a video is one thing, and seeing him from the nosebleeds and hearing it over the sound system is another. But being ten feet away and hearing the notes themselves before they hit the sound system is something else entirely.

Ernie Haase & Signature Sound started the program. Probably wisely, given the audience, they pulled heavily from the more traditional parts of their repertoire, starting with the classic “Our Debts Will Be Paid” (featuring lead singer Ryan Seaton) and the newer classic-in-the-making “Glory to God in the Highest” (featuring bass singer Tim Duncan).

Their recent #1 hit song, “Reason Enough,” went over quite well. Their acapella rendition of “Wonderful Grace of Jesus” also got a strong response.

They did sing one song from their brand-new Christmas recording (Every Light that Shines at Christmas), “Changed By a Baby Boy.”

Then they pulled out two vintage-style micropones for the remainder of their set. They sang “My Heart is a Chapel,” “Swinging on the Golden Gates,” “Walk With Me,” and “Since Jesus Passed By.”

As Signature Sound walked off stage, the lights were dimmed, and the Gaither Vocal Band walked onto the stage in hazy blue light, singing “Alpha and Omega.”

David Phelps was featured on “At the Cross”; as incredible as the song is recorded or on a Homecoming video, it is indescribably breathtaking from merely feet away.

Michael English was featured on “Temporary Home.” There was a round of applause when he stepped forward. There also was for his part and the other parts in the three-tenor rendition of “The Love of God.”

Mark Lowry and Bill Gaither were featured on “Satisfied.”

Lowry was featured again on Journey to the Sky, and received a standing ovation.

David Phelps sang “Nessun Dorma” solo. He ended the song on a powerfully high note and received a standing ovation.

Michael English and Mark Lowry were featured on “He Touched Me.”

English introduced “Lord, Feed Your Children” by saying that it had been a number of years since he stood on the National Quartet Convention stage, but it was good to be home. The song received a prolonged standing ovation. The Gaither Vocal Band closed their set with “It is Finished,” which received another standing ovation.

After Gordon Mote gave the other singers a break by singing “Old Gospel Ship,” the Gaither Vocal Band and Signature Sound did several songs together. They sang “Great Day,” highlighted by a particularly strong solo from Wes Hampton, “Love Like a River,” “Swing Down Chariot,” “Sitting at the Feet of Jesus,” and “I Then Shall Live.” On the final song, a trio comprised of Wes Hampton, Ryan Seaton, and Doug Anderson sang several lines. Their blend was phenomenal.

I had (and have) a crazy schedule, trying to get video up for a number of websites, so I was unable to spend as much time in Freedom Hall as I wanted to.

I did catch the Mark Trammell Trio set; they sang “Mansion Over the Hilltop,” “Sweetest Song I Know,” “If Only Just a Few,” and “Standing On the Solid Rock.”

The Hoppers and Collingsworth Family sang “Family of God” together. Then the Collingsworth Family started their set with an a capella rendition of “Holy, Holy, Holy,” featuring Courtney. Olivia was featured on “Little By Little.” A teenage trio of Phil Jr., Courtney, and Brooklyn sang a new Gerald Crabb song, “I Know.” (Come to think of it, though, I might not be able to use that any longer, since I recall hearing a reference to Brooklyn having heard twenty.) Courtney played a violin solo (truly solo, without even piano) on “There is a Fountain”; this led into their song “The Blood of Jesus.”

The Talley Trio sang four songs. They started with one of the strongest songs from their new project (Songs You Know By Heart), “Amazing Grace.” Debra sang the first verses, and Lauren finished with the last two. Roger was featured on “My Hope is In the Lord.” Then Lauren closed with two songs, the Talleys classic “Mountain Mover” and another song new to the Talley Trio, “He’s Alive.” It’s hard for a brand new song that many in the audience have never heard to get a standing ovation, but this one did.

Tribute Quartet started their set with two songs from their new project, “I’ve Been Blessed,” featuring lead Gary Casto, bass Dennis Dugger, and tenor Brian Alvey. I scribbled in my notes that it was remarkable how much Dugger sounds like Legacy Five bass Glen Dustin. Casto and Alvey sang solos on another new song, “That’s Why I Love Him So.” Brian Alvey closed the set with “Who Am I”; oddly, for whatever reason, even counting the “Who Am I” encore with the Perrys, Tribute Quartet walked off stage with 6 1/2 minutes left on the clock timing their set.

The Perrys featured Troy Peach and Libbi Stuffle on “Old Fashioned Altar.” For whatever reason (probably, like for so many groups for the rest of the week, microphone issues), one of Libbi’s feature lines in a final chorus was inaudible. And since the audience didn’t hear any vocals when that happened, the Perrys cannot be accused of over-stacking their songs.

One detour along those lines for a minute, if I may. Many singers use stacks–pre-recording their own voices–to help in certain situations. It allows the singers to ease off the power on big endings or save a set in a room with poor acoustics (Freedom Hall, anyone?) But, I am of the opinion that some amateur commentators mistake reverb for stacks. Most sound boards, including the ones used during the National Quartet Convention, have live processing effects. If a singer is minutely south or north of their pitch, and they were either on or slightly off in the other direction a moment before, reverb can add the choir effect that casual readers who know just enough to be dangerous can mistakenly assume to be stacked vocals.

Back to the Perrys’ set. They sang “If You Knew Him,” featuring lead singer Joseph Habedank, and received a standing ovation. They closed their set with “I Wish I Coulda Been There,” encoring it with Tribute Quartet, Morgan Easter (who had begged them to sing the song), and one or two other artists who had stayed in the artist circle to the finale.

* * *

I know, I fell behind, and this post is late. Please accept my apologies, and I’ll do my best to catch up! Maintaining six websites is a bigger job than I anticipated, but it’s a job I love. You have to love this music to survive this convention! But if you do, then the long days are a joy.

The Inspirations’ new baritone, Donald Duck, who looks remarkably like their old baritone, Melton Campbell, was observed recording a radio liner yesterday: