About Tortoise Climbing

Questions

Depending on your philosophy of how, or why things happen, you could perceive the creation, or coming into existence and evolution of TortoiseClimbing™ as:

You be the judge. Here's the story.

Background

Singing was the major catalyst.

David began singing in elementary school choruses.  (Remember when public schools included music education in elementary, junior [reorganized as middle] and high schools?) He took voice lessons in college and afterward. He continued singing in choruses and doing solos through college, and afterward. Those provided many wonderful life experiences. 

After college David became involved in various singing activities, including:

Beginning in approximately 1990, based on a desire to create something more lasting with his singing than just concerts, he started dabbling at recording.

He wound up recording at Bias Recording Studio because of a request from a personal friend that was making personal recordings, and asked David to do some duets with him.  The geographic convienience of the studio didn't hurt.

David's friend largely worked with Mr. Bill McElroy. Thus, when David began recording Nostalgic Solos, Mr. McElroy became David's recording engineer at Bias Recording Studio. (Mr. Bill McElroy was one of two partners who established Bias.) He has a knack for being supportive and helpful to his clients, and getting them comfortable recording in his studio.

Small World

Mr. McElroy's previous experiences in the recording industry provides an illustration of how incredably small a world we tend to revolve within. Before Mr. McElroy and his partner started Bias, Bill worked as a recording engineer at Edgewood Recording Studio in downtown Washington, DC.  That recording studio was used by David’s college choir director, Mr. Fague K. Springmann (1933 - 1983), who had a magnificent bass-baritone operatic voice "to die for."

Note. Mr. Springmann recorded at Edgewood before multitrack master tapes. Editing meant using a razor blade to cut the tape and take out the unwanted recording take and splicing in the desired recording take.  During the period David sang in Mr. Springmann’s choir in college, he had an opportunity to accompany Mr. Springmann to one of his editing sessions at Edgewood


Mr. Springmann was instrumental in facilitating a number of wonderful choral experiences in David's college life.  Those occurred because of Mr. Springmann's operatic bass-baritone voice. His magnificant voice caused him to be selected as a solo artist for very well-known classical compositions which also needed a chorus. Mr. Springmann successfully suggested his chorus be used as the supporting chorus for such productions.

Evolution of Involved Colleagues

A subsequent influence on David's recordings is Ms. Heidi Gerber-Salins, who came to work at Bias in 1991, and initially occassionally assisted Mr. McElroy in David's studio sessions as part of her responsibilities.

That too has it’s own back-story regarding Ms. Gerber-Salins' choice after college to pursue becoming a recording engineer, rather than a gourmet cook.  After graduating from college, she studied recording engineering and was hired by Bias.


Then, in about 1993 for personal reasons, Mr. McElroy decided to go do other things in life and started fazing out of Bias. First he followed a dream to work with trains in a couple different jobs.

But after a couple years, in order to be near his son, he moved near Richmond, Virginia, and returned to the recording industry by establishing a mastering studio in Scott's Addition, VA (a neighborhood in Richmond). Then in 2001 he established the new SlippedDISC studio just north of Richmond, Virginia in the little town of Ashland, Virginia (just south of the King's Dominion theme park at Doswell). David now works with Mr. McElroy at SlippedDISC.  You can find out more about Mr. McElroy's new recording and mastering studio by clicking on SlippedDISCAudio.

Ms. Gerber-Salins' Life Moved On

After about 10 years at Bias, just as Mr. McElroy before her had left Bias, Ms. Gerber-Salins left. Unlike Mr. McElroy, who initially followed his dream of working with trains before he wound up back with a mastering studio and then a new recording studio, Ms. Gerber-Salins struck out on her own and started her own speciality recording and production company, All-Access-Audio. First in Reston, VA, and then in far northern Silver Spring, MD.

To see a summary of archived information for numerous projects Ms. Gerber-Salins was responsible for as a recording engineer and producer while with Bias, click on this link for Heidi-Gerber-at-Bias. This archived material is from around 2001 when Ms. Gerber-Salins left Bias (and when Bill McElroy established Slipped DISC.) This archived information is preserved by TortoiseClimbing for your edification.)

In about 2013 Ms. Gerber-Salins' life moved on again from running All-Access-Audio to becoming a University teaching professor.

First Private Album

TortoiseClimbing was created by David Goettee as part of his recording his first simple, private album, Nostalgic Solos. On that album, the accompaniments are dominantly piano, with a couple Karaoke accompaniment tracks. The songs on that album are dominantly from shortly before, during, and after the World War II era.

That recording was being completed about the time Mr. McElroy decided to phase out of Bias. Ms. Gerber-Salins became David's recording engineer to provide a few final touches of assistance for completing that album.

A limited number of privately released cassettes were produced and made available to family and friends.

Current plans are to have the analogue master tapes David has from that project converted to produce a digitally remastered and remixed version of that recording.


Interrupted Next Album

When Mr. McElroy left Bias in 1993, Ms. Gerber-Salins became David's recording engineer and co-producer.  Together they slowly worked on recording what was envisioned as the next album of largely Romantic Duets, dominantly from the early to mid 1990's, many from films and musicals. The accompaniments are dominantly Karaoke sound tracks. 

Over the next 4 years dabbling on that project, Ms. Gerber-Salins’ professional relationship expanded to include her fulfilling roles of co-producer, singing collaborator and very importantly, friend.  Ms. Gerber-Salins played a significant role in helping David record some wonderful draft duet recordings with various others. Ms. Gerber-Salins also facilitated David becoming involved with DC branches of several music organizations where he met others working in the field. 

Hymns and Songs for Living: Logical Evolution or Perhaps Destiny

This project is an example of a succession of serendipitous (or was it destined?) events. It is a scintillatingly delicious story, and a critical part of the evolution of TortoiseClimbing™.


Following completion of the Nostalgic Solos recording, and during the ongoing work on the draft Romantic Duets album, David's father died in late 1996. Then, in spring 1998 David's mother asked him to record an album of his father's and her favorite, traditional hymns and songs. That became Hymns and Songs for Living.

His mother's request created a short but critical collaboration with her where they discussed what the album should be, i.e., either:

The decisions made redefined TortoiseClimbing's future. Namely:

Their decisions to create both a quality album and to make it available for general distribution was crystallizing! It also was a departure from David's previous efforts which had made simple, private albums for friends and family.

For accompaniments, the first recording, Nostalgic Solos, used a live musician playing piano on most cuts, and a couple Karaoke tracks. The Romantic Solos album used almost exclusively Karaoke tracks for its accompaniments. The decision to make a quality recording significantly changed the focus for accompaniments to be used by TortoiseClimbing for the Hymns and Songs for Living album.


For the Hymns and Songs for Living album all the accompaniments are live musicians, often multiple musicians, plus some of the accompaniments were explicitly developed for this recording, including for some of the multiple vocal harmonies. Thus, this recording is a considerably more complicated and producted structure than the simple solos and duets of the Nostalgic Solos and Romantic Duets recording.


David immediatly began work on the hymns and songs album with Ms. Gerber-Salins, working from the list of hymns and songs selected with his mother. Every weekend until September of 1998 he took copies of the latest draft recordings for his mother and her care givers for them to be part of the progress of making the recording.  She was thrilled with the progress being made, but sadly did not live to hear the final recording.

Relation to Previous Life Experiences

David was trained (inculcated?) in the philosophy of diligently preparing for your future.  Surprisingly, many of the things that preceeded in his life, seemed to compliment this new endevor. They included:

They helped lay foundations for undertaking many of the new actions TortoiseClimbing needed to undertake.

Evolution of TortoiseClimbing?

The decisions that Hymns and Songs for Living would be a quality recording, made for general availably, meant all the following new things became necessary:

That meant it was necessary to undertake and accomplish everything done by:

Some of these were new, significantly different undertakings from those involved with the beginning simple concept of TortoiseClimbing. They also had to be undertaken without a mentor.

All the new dimensions of detailed business knowledge about what record labels, technical programers and website publishers must do, either had to be hired or learned to create an album, book and website for release to the public.  Fortunately David had a solid foundation of previous skills on which to learn and build the new skills necessary.

For those interested, here is an illustrative list of examples of things that must be accomplished within the recording; book publishing; and website business models: