Reposted by Jeffrey Nils Gardner
We're so honored that TWO THOUSAND AND LATE won Best Writing and Best Comedy at the NJ Web Fest!!
Jeffrey Nils Gardner
@euripidesredux.bsky.social
426 followers 71 following 113 posts
they/them, Chicago, IL. Audio fiction director/sound designer, made Unwell, The Harbingers, World Gone Wrong, Our Fair City, audio for Audible, Vox, Atypical Artists, Rusty Quill, etc, teaching at Northwestern, Fiddle/Mandolin for Olivia and the Lovers
![“When Bill Withers showed up,” Halverson says, “he comes walking in with his guitar and a straight-back chair, like a dining room chair, and asks, ‘Where do I set up?’ I showed him right in the middle of the room, and then he left and he came back in with this platform, a kind of wooden box that didn’t have a bottom. It was about four inches tall, and was maybe 3 foot by 4 foot; it was a fairly large platform, and he set it down in the middle of the room. Then he put his chair on it and got his guitar out, and he’s sitting on top of this box. So I miked him and I miked his guitar, and then I was doing other things—getting sounds together.
“But then he calls me over and he points down to the box and says, ‘You gotta mike the box.’ Well, the way I was trained, you serve the artist, whatever the artist needs. So I got a couple other mics and I miked the box, the place down near the floor, next to this platform.
“And now, when you listen to ‘Ain’t No Sunshine,’ you know that all that tapping that goes on [while Withers sings] ‘I know I know I know’ all through it, actually, that’s him tapping his feet on the box, which is actually more intricate than the guitar on that track. He had evidently rehearsed that in his living room, maybe for years.”](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:vtqkh4q3vlh7rltd4tnaweh2/bafkreig3codqyfxdi2er2sqqri34kumkg2izjo4k7gtxp6pfipsxyx3yxe)
