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From: Hilary A Croughton
To: smac@smacdonald.com
Subject: Lots

Hi Steve!

Thank you for the "WorlDream Project". For all it says and all it means, but especially for making Donna feel like "a real person" again. Thank you all for helping to make his dream come true. I downloaded the mp3 file and having stopped playing it since. The audio file still gets played *at least* twice a day, soundcard permitting I'm still trying to put into words how I felt at the recording and practise sessions.

You are very special and make powerful music. I'd like to hear more.

Hilary
Keris' sister
Pusher of wheelchair
Mopper-upper-of spilt drinks


From: Frank Gunkelmann
To: smac@smacdonald.com
Subject: WorlDream-impessions at ConThirteena

Lots of people, lots of voices, high emotions...

It was not possible to stand the rehearsal without being moved.

But the recording: goosebumps - shiver - gulp - takeyourbreathaway - almostaheardattack - feelsogood - feelyetbetter - crylikeababy. And it was not easy to stay silent for some seconds after the last note, to get a good ending of the recording - but then yeeehaaaah!

Filkers freaking out in joy!

IĞm looking foreward to do it again at FilkContinental in Germany! (And looking foreward to hear the final version on CD!!)

WorlDream project-Fan

Franklin


WorlDream rehearsal / recording at ConThirteena

Even before I had gotten to ConThirteena the crazy idea behind this WorlDream project moved me immensely. I was looking forward to the actual thing very much.

I had already heard the song before, as I had downloaded the mp3 file. However, this song definitely needs to be sung by a roomful of people, only then it get's the drive it needs. I was surprised at how much of a difference it made! Due to the song being a bit too high for me, I was doing a harmony version throughout the whole song, which sounded ok.

The rehearsal session was ... ahm ... interesting. Apart from being thrilled by the sheer emotion overload of the situation, lots of people doing wonderful harmonies on the spot and Steve standing on a chair in front of us playing the guitar and looking overwhelmed (wonder why? I wouldn't manage to sing a single note if a roomful of people would sing my own song back at me!!!), I was most fascinated by the timekeeping issue. Lissa did a sterling job on drums to keep the beat, but what will happen at a con where you don't have a drumkit or a percussionist person loud and insistent enough to "stop the masses" from getting carried away? This is a thing likely to happen with this song, as it just sort of "carries" you. I am not entirely convinced that the mixdown of the different convention parts into one song will go smoothly, but of course I dearly hope that it works out (Well - I'm not an engineer, maybe there are ways to balance the speed, unnoticed). However, I feel that it should be made very clear before every recording session that people should not necessarily listen to Steve's guitar playing but to the drummer / percussionist. I am not convinced that it works better if Steve uses the timing track himself - I think it's too hard not to get influenced by the enthusiastic atmosphere with, say, 60+ people in a room singing this song from the bottom of their hearts ... - but that's just my feeling, maybe I'm wrong.

The recording was yet again different. The atmosphere was much more tense, but in a positive way. You can always "feel" the excitement of the singers when doing a recording (which, in my opinion, is a good thing, it gives the voices a little extra "kick"), and this came together with the spirit of the song, "being one voice", "belonging together" - it was just fabulous. Chris Conway did some really good improvisation on tin whistle - wow (or "groovy", as Uncle Chris would say)!!! In the end, it was very hard not to break into immediate cheering and applause but to wait a few seconds so that the tape could be switched off.

Overall I can say that DOING these recording sessions creates so much togetherness that the project has definitely fulfilled its purpose, no matter how the final product will sound.

Katy Dröge

Copyright © 2001 Steve Macdonald