Final production mastering is now complete for the upcoming CD project "Chamber Music of Jeremy Gill" to be released on the Albany record label later this year.  I served as co-producer and recording engineer for this project which features performances from the finest chamber music soloists and ensembles on stage today. The composer writes:

George Crumb has said that a composer's primary efforts should go toward "creating a viable style, inventing distinguished thematic material, and articulating form." I know of no more succinct way to put it, but the how, in this case, is much more elusive than the what. Fortunately, there are many models of success: the great works of the past are testaments to their creators' ingenuities and persistence, and the great composers were great musical historians, as well (J. S. Bach and Stravinsky are only the most obvious examples).

Music can express everything from whimsy to the deepest and most serious reflections. It can reveal an irrepressible love of life or a despair that cripples. It can stop time or shoot us off into the future in a straight line, as Italo Calvino says, "in the hope that the line will continue into infinity, making [us] unreachable". The human experience is one of infinite variety; the works presented here are but a first step toward realizing that variety in sound.

As testament to the incredible advancements within the open source audio community in recent years, this project was recorded and mastered using exclusively OSS.  Specifically, the sessions were tracked (24bit/88.2kHz) in Ardour (Paul Davis et al.) and mastered using Jamin and TimeMachine (Steve Harris et al.).  Additionally, all computers involved in the production process were running Studio64, a Debian-based multimedia distribution of GNU/Linux.