I purchased this guitar in Bolder CO at Robb's Music its a Nylon electric it looks cool and funky and playes very well. I is a one of a kind and it was a very good deal.
20050731
My New Bolderado Nylon Electric Guitar
I purchased this guitar in Bolder CO at Robb's Music its a Nylon electric it looks cool and funky and playes very well. I is a one of a kind and it was a very good deal.
20050726
Letter From Steve (Nice)
Hello!
Thankyou so much for your kind words. I am thrilled to be a part of the Listening Lounge. I hope to be touring out that way in the future. Soon I'll be putting together a new website with updates to keep everyone posted with whats new.
Thankyou for listening to my music, it would be great to meet you as well.
Take care,
Steve
Thankyou so much for your kind words. I am thrilled to be a part of the Listening Lounge. I hope to be touring out that way in the future. Soon I'll be putting together a new website with updates to keep everyone posted with whats new.
Thankyou for listening to my music, it would be great to meet you as well.
Take care,
Steve
20050725
Ottmar Liebert Interview April 15, 2004 Guitarhoo!
Ottmar Liebert Interview April 15, 2004 Guitarhoo!: Where were you born?Ottmar Liebert: Cologne, Germany.G!: Are you from a very musical family?OL: Grandfather was in a choir....my father loves Jazz, but is about as musical as a table. My mother loved classical music, especially opera, and sang all of the time.G!: At what age did you begin playing guitar?OL: 11G!: Were you drawn towards Flamenco and Spanish guitar styles from the beggining and what drew you towards that style over any other?OL: No, I started playing classical guitar when I was 11 years old.I found a Flamenco LP in the bargain bin at a local supermarket when I was 14 and that was the first Flamenco spark... Then a friend played "Mediterranean Sundance" for me when I was 16 and I asked him to hand me the cover. I didn't care much for Al DiMeola, but I had to know who that other guitarist was! That, of course, was Paco De Lucia, and this was the second Flamenco spark. The third spark was ignited when I moved to Santa Fe in 1986 and I found a local Flamenco Guitarist to study with. I won't mention his name to protect the innocent...he has received enough flack from "traditionalists" who don't like what I do.G!: Did you have formal training early on or did you mostly learn by ear?OL: We had a school program, where teachers from the Music University would come to teach a group of guitar students once a week for only $20/semester. For very little money I was able to study with several different excellent teachers. Maybe it was obvious how much I enjoyed playing guitar and how hard I worked, because the teacher would teach the whole group for half an hour and then dismiss everyone and give me a half hour one-on-one lesson.G!: Who were/are some of your musical influences?OL: Some of the people I enjoyed were guitarists, like Santana, De Lucia, McLaughlin, Fripp, and Jeff Beck, others were horn players like Miles Davis. But others yet were fine artists who taught me about space and brush strokes and dynamics and contrast...I think ones sense of music can be very influenced by other arts, from painting to photography to cooking and acting...G!: Interesting... At what point in your playing (and/or age) did you start letting go of your influences and begin taking on your own voice?OL: I think that is a constant awareness. How could I not be influenced anymore...I'd have to be dead. Everything I hear, see, taste and smell influences what I do. I do think that one must make choices, meaning this: you are what you eat - and you are what you listen to, watch etc. etc....Watch your intake...if you listen to the radio you will sound like the radio. I never listen to the radio anymore, which is a shame, really, because radio used to turn me onto some cool stuff - but that has not happened in many, many years - so I don't listen to it anymore.So, to get back to your question, I never stopped being influenced, but I think that around 1988 or 1989 I started to develop a certain original and very identifiable sound. I don't think one can plan one's "sound", but rather that it is a natural outcome of experience. Melodies are about associations. A melody is a mind's association in regard to a number of chord changes and a specific rhythm. As one gets older one's associations tend to become more focused and more personal, I feel.G!: Good points. Yourself and Luna Negra have pioneered "Nouveau Flamenco" music. How would you officially describe the genre or stylings of Nouveau Flamenco?OL: I have said in the past that Nouveau Flamenco is to Flamenco what Bossa Nova is to Samba. I feel that is still true. To me NF and Bossa Nova are rooted in the melodies, while Flamenco and Samba are primarily about the rhythm. And I love melodies.I think another element of my records in particular is that I came from pop and funk and R&B, which I played in bands in Boston from 1979-1986, and therefore approach rhythm guitar playing with a slightly different feel. If you listen to NF, you will discover that the song "Barcelona Nights", for example, has 5 guitars - three rhythm guitars, a guitar melody plus a harmony...but since the rhythm guitars really lock together they are allowed to disappear and support the melody...G!: Do your personal spiritual beliefs tie into New Age Awareness, Metaphysics (and/or) Buddhism? A mind over matter, not being influenced by our environment surrounding us but rather viewing life more as an illusion which is perceived and experienced by us individually where we all create our own realities.OL: I don't see how anyone could not be influenced by their environment. We are part of this world as much as we can also transcend it.I enjoy the writings of Ken Wilber:Ken founded the Integral Institute:www.IntegralInstitute.orgwww.IntegralNaked.orgG!: In The Celestian Vision and The Celestian Prophecy, James Redfield explores our physical and metal, postive and negative energies and how we draw or repel individuals and experiences into our lives at certain moments as a purpose and how if we are aware of this, we can harness and grow fully from these experiences and better design our lives. Do you agree with this, do you feel there is somekind of God also guiding us along our paths (giving us lessons along the way when we need it) or a combination of the two?OL: Neither.G!: Have you ever experienced or explored Lucid Dreaming?OL: No, not yet. I am interested in Lucid Dreaming.G!: My favorite album of yours is "The Hours Between Night + Day". From beginning to end it is quite the journey and you all did a great job painting the different moods with your instruments and the songs. Again, when you write and record for an album like that, do you shut yourself out from the physical world and explore the inner world and how do you do this when you are recording in a state of the art recording studio?OL: We recorded "The Hours between Night + Day" in Santa Barbara in the beginning of 1993. I basically moved to Santa Barbara for more than two months. I arrived at the studio around 10am and stayed until 2am."Opium" was a little different as I recorded the album in my own studio in Santa Fe. We worked all day, ate meals in my house and then went back to work in the studio. I don't think I left my property at all for weeks - well, except for a walk down the street to a restaurant in the evening, where my engineer and I would drink a glass of port before we walked back to the studio and worked until the morning hours.When I work on an album I have to force myself to step away from it as I have a hard time leaving the project before it is finished. I get completely immersed into the flow of work and music and the quest for inspiration. Music is 90% perspiration and 10% inspiration - and the work will eventually lead to the inspiration most of the time. By the end of the recording I am sooo ready to walk away from the music.... it's done and documented and I have usually already started forming an idea for the next album.... a new palette, a different instrumentation, a different context etc.G!: Cool! Sprinkled throughout the album, you have a lot of natural sounds; waves, wildlife, wind etc. (on songs such as "Bombay", "Lush", "Buddha's Flower" to name a few.) Did you personally capture authentic sounds for this or did you use pre-made nature discs and synthesizers to simulate these sounds?OL: I used to carry a DAT recorder everywhere we went and those sounds were recorded all over the world.G!: What sounds are going on in the track "Blink"? It's a very haunting intro and that voice is chilling. What is that voice saying?OL: The voice belongs to an announcer in one of the biggest railway stations in Europe. The person is announcing a train. That reminds me, there is a sound that is familiar to all people who love trains, a sound that is rapidly disappearing. The sound of the train announcement-signs flipping over, sometimes running through many signs before arriving at the new announcement. Very cool sound, very analog...but they are all getting changed over to TV Monitors...G!: Dig it! What did you use for the percussive, pulsating rhythm in "Lush"? Did you manipulate a natural sound (like a raindrop) for that or is that an instrument?OL: It's a weird instrument that makes a drop sound...some kind of bottle contraption that we borrowed from Airto Moreira. Then we dumped the sound into a sampler and I played the rhythm which my brother then sequenced.G!: Very cool! And on that note, when you envision and journey through a record project do you come up with all the percussive sounds and ideas or do your bandmates add their flavors to the tracks through there own inspiration?OL: Depends on the album and the song. I usually know what I want for percussion, but I am always open for ideas, surprises, happy accidents etc...G!: When you compose, mainly do you get into a certain vibe or state of mind and write quickly or do you like to take your time with it all?OL: Depends. Some songs come quickly and some take a long time. I don't see a specific method, but rather that each song demands a different approach.G!: And typically speaking, when you compose a piece, do you start with a certain mood or thematic melody line and build from there and do you leave room for improvisation or do you pre-plan a lot of your guitar solo's?OL: Depends.... most of the time I build the song and when it has enough shape, mood, color, I sit down and improvise a melody. Every once in a while a song starts with the melody, but most of the time it is the other way around.G!: Have you ever written, recorded or performed in a state of prolonged sleep deprevation?OL: Yes, I have, many times. Cheapest drug there is!G!: Ya... haha.. a real warp-out!... As for writing and recording, how important are your physical surroundings when you write and record?OL: I can write anywhere, but the recording is limited to places that sound good. If the room looks ugly, but sounds good I have no problem with it. On the other hand I have a pretty ideal little studio in Santa Fe with beautiful adobe walls and windows that let in quite a bit of light...
A few snapshots of Ottmar's Spiral Subwave Studio
G!: You now have your own recording studio. What can you tell us about it?OL: In 1994 the studio started out with a Sony 2" 24 track recorder and Neve and Euphonix consoles. Nowadays I use an Apple G4 computer (OS 10.3.2) and ProTools HD (v. 6.2.3). I use a Neumann M 149 microphone on the guitar into a Martech MSS10 pre-amp and from there into the DigiDesign 192 audio interface.
G!: Your finger picking is so crisp and clear. Do you use a lot of compression on your guitar or do you naturally pick that hard?OL: I try to use as little compression as I can get away with. The crisp sound is mainly due to my picking. I articulate every single note.G!: You play quite a few stringed instruments. Can you tell us all the instruments you do play and which one gives you the most challenges?OL: I have a fretless Lute, which I started recording with in 1993 - "used it on "The Hours between Night + Day" for the first time. I also have an instrument Keith Vizcarra built for me, and which he calls a "Luitar". It is a fretless guitar with double course strings. E, A, and D are tuned in octaves and G, B and E are tuned in unison. I used it on "In the Arms of Love" and "The Santa Fe Sessions". In addition to that I have a Gibson ES335, which I bought in the mid-eighties, and the Vizcarra strat.I also have two Lester DeVoe Flamenco guitars, a Negra and a Blanca, one Eric Sahlin Blanca and a Vizcarra Negra Flamenco guitar.Not a lot of instruments, really. I know guitar players who have a few dozen guitars, but I usually play only one favorite guitar and don't need a lot of guitars...G!: I've seen you play live at the Orpheum Theatre in Vancouver, Canada. And the whole vibe of the band and yourself is very dreamy like, serene with the lighting, the all acoustic environment and performances. Yet there is this underlying fire burning beneath it all and you can really feel it from the whole band. Most of the show you had your eyes closed, barefoot, cross-legged and seemed to be in an almost meditative state, the whole show. When you are performing live are you taken to a far away place as it appears and feels like from the audience?OL: I think in a strange way I am far, far away and right there at the same time. I can't describe the feeling, but it is unique to the stage.G!: When you are playing and soloing live, in your mind, is all technical knowledge of the guitar gone and what are you thinking and feeling as you improvise?OL: If I had words for the feeling I would be a poet, yes? Since I do not, I play guitar. Sometimes I wish I could articulate those feelings, but it is impossible. As for technical knowledge - that comes and goes depending on the piece, on the mood etc..You are always playing with the prize firmly in sight, and that prize is inspiration, letting go, being in-the-moment, transported ourselves and the audience, feeling like we are inside the music etc. Sometimes it happens and sometimes it does not. The vibe of the individual concert has a lot to do with it. While most of the audience will probably not pick up on it, the other guys in the band always recognize when we are "on"! It is interesting that some people don't seem to understand the nature of music and inspiration. I get the feeling that they think that we are little more than circus performers and we should perform our act and that is all there is to it. A concert is the interaction of the band with the audience through music and it takes everybody in that theater to make the evening great.G!: Also at that show (as I'm sure it happens at most of your shows), a bouquet of roses were thrown on the stage as the crowd erupted for your encore. What was the strangest or most memorable item a fan has thrown onto your stage?OL: In Victoria, BC, a woman threw a small bottle, labeled "Love Potion" at me. It came from the upper balcony and missed the guitar by less than a foot. Although I protested, hoping that one could reason with the person who threw the bottle, the woman was removed from the theater by the promoter, who feared trouble or a law suit.G!: hahaha... well, you have to admire her rather direct approach there and it shows the dramatic effect your music does have on the chicks! haha...Do you do any particular finger exercises or rituals before you take the stage?OL: I slaughter a young goat before every show and drink the warm blood.Other than that I don't have a particular ritual.G!: hahaha... That's just pure evil... haha...What is the strangest or most memorable gig you have played?OL: We played a private show once and as we began our first song we saw that castanets were handed out to a group of about 30 or 40 drunken executives. As you can imagine, that many castanets, played with abandon and a complete lack of rhythm or expertise, were louder than us and I walked off, feeling that the executives were entertaining themselves quite nicely!G!: hahaha... priceless! What does your touring rig consist of?OL: A Shure KSM 44 and sometimes a KSM 141 on the Flamenco guitar. A Line6 amp for the strat.G!: You've done some excellent cover renditions of Hendrix's Little Wing and Led Zeppelin's Kashmir (off your "Little Wing" disc). What are some of your favorite covers and do you have any plans to do more?OL: I think I have done all of my favorite covers: "Samba Pa Ti" was covered on "Solo Para Ti", my first album for Epic Records. "Mercy, Mercy Me" and "Albatross" were covered on "The Hours between Night + Day", "Little Wing", "The Girl from Ipanema", "Kashmir", and "Paint it Black" were covered on "Little Wing"No, I don't have any plans to do more covers.G!: On occassion you pull out an electric guitar on tracks like "Summantra" from "The Hours Between Night + Day". And you use it more as a texture in the mix not as an in your face feature. Which electric guitars do you prefer?OL: I have been using a strat-copy, built by Keith Vizcarra, with Joe Barden pickups (they sound amazing) - and an ancient Kahler whammy bar I have used since the early eighties. On "Opium" I also used a Gibson ES335 on one or two songs.G!: Do you plan to explore a bit more on electric on future songs?OL: Only time will tell....G!: You already had a lot of success by the time record companies started to really push Pop-flavored Spanish music in the USA with artists like Ricky Martin, Enrique Englasias and Shakira. But did you notice an extra boom with your more authentic Latin instrumental audiences and record buyers because of this?OL: No.G!: How did you like the pop-style Spanish music those such artists were releasing?OL: Don't really have anything to say to that. Some of the music was OK and some of it wasn't....G!: Is "Spiral Subwave Records International" your own record label (and if so when did you establish this and do you feel you are better off with your own label verses other major record labels)?OL: I started SSRI in 2002, after I fulfilled my contract with Epic Records with the album "Little Wing". I signed a two album distribution deal for SSRI with Higher Octave and released "In the Arms of Love" in 2002 and "The Santa Fe Sessions" in February of 2003. I preferred not to extend my deal with Higher Octave and decided to leave all traditional distribution behind. I released "nouveaumatic" last Summer and my bassplayer's album "Transit" last month.G!: Do you plan to sign other artists or will this remain a vehicle for your own (and bandmates) releases?OL: Right now my company is very small and I can be very hands-on. At this time I have no plans expanding the company in order to sign other artists.G!: You've performed with some legendary players; Carlos Santana on "Samba Pa Ti" and Al DiMeola on "Bullfighters Dream", to name a couple and both excellent tracks by the way. What can you tell us about those experiences?OL: That Al DiMeola played on "Bullfighter's Dream" is a rumor I had not heard yet. He is certainly not credited on the album. Where did you hear that one?G!: oh, I heard an mp3 on the net and it credited both you and Al on the track. I guess the guy who made the mp3 did that falsely to get more downloads or whatever... But it didn't sound like Al DiMeola was in the mix...Are there any artists you'd like to perform with whom you haven't already?OL: David Sylvian, Ryuichi Sakamoto, Brian Eno, Jon Hassell, Ry Cooder and many more....G!: You are presently in the studio recording. How is it all coming along and what can you tell us about this project in the works?OL: I just finished mixing and mastering the new album, "La Semana" this week. We will sell a very basic CD package of "La Semana" for $12, which is even cheaper than buying the music from iTunes.....and a signed limited edition for $60/ea. The limited edition will have an additional song, as well as drawings and photos and notes about the music. The album will be released during the first week of June.G!: Great! You must have a toured lined up for this project. What can you tell us about it?OL: This year we will have a new quartet. The other members of the band will be Jon Gagan - electric bass guitars + synthesizer, Ron Wagner - tablas, dumbek + percussion, and Robbie Rothchild - cajon, congas, djembe + percussion. The "La Semana" tour starts around June 10th and we will spend about 4 weeks on the west coast. Then we will take a little break and do another 6 weeks mainly on the east coast starting in September. After that we will have a couple of weeks off and then we'll tour in Mexico and South-America in November.For more information please go to: http://www.lunanegra.com/www/lnm/touring/lnm_touring_set.htmlG!: What do you find more rewarding composing and recording or touring?OL: Recording and performing/touring are completely different aspects of my life. I love the fact that I can add lots of guitars to a recording and live I have to find a way to make do by myself....so they are very different challenges...I am not using keyboards or synthesizers or any instruments other than Flamenco guitar, bass and percussion on my new album, but some songs have something like 10 guitar tracks! Performing is about the exchange with the audience, something I can't get from the studio...it's about making the moment count...it's about thinking on your feet and rising to the challenge, it's about communicating with the rest of the band and the audience...Both special...but to me very different...G!: Back to what you were saying how different artforms can bleed together (cooking, dancing, painting inspiring music and vice versa). Now, if I threw in front of you a pile of Chicken Enchiladas, large bowl of Guacamole sprinkled with Piquillo Peppers, a 40oz bottle of Tequila with the worm, a Pinata stuffed with fresh Dead Presidents, a black and white photo of Charo doing her "cuchi, cuchi" wiggle dance, and a .38 Special loaded with blanks, what type of music or song title would jump out at you?OL: I ate the enchiladas (with red and green chili - something we call Christmas here in Santa Fe) and drank the Tequila and now I am squinting my eyes shut 'cause I definitely don't wanna wake up from this hangover with an image of Charo.G!: hahaha... What are some of your hobbies and interests outside of music?OL: Whoa, there is life outside music?No, just kidding! I like to draw, take photos, cook, play racquetball, and do Pilates twice a week...Actually some of my photos and drawings will be in the Limited Edition of the new album "La Semana".G!: Great! Did you prefer the original movie "El Mariachi" or the remake "Desperado" and at any point in your career did you feel like the main character in that film?OL: And then there is the newest installment "Once upon a Time in Mexico"! I thought the first and original movie was the best one of the three. It had a vibe that was completely lost in the remake and the newest version. Although Johnny Depp saves the new movie - almost. He is brilliant.G!: I agree. The original was raw, quirky and on the edge. Do you have a favorite Confucious saying?OL: No.G!: Do you have any advice you would like to pass onto aspiring musicians?OL: Follow your Bliss?G!: Ottmar, it was a blast, thanks for taking out the time for this interview. We all look forward to your future projects!OL: You are welcome. My new album will be available in the beginning of June. You can check our web site: www.lunanegra.com for availability and for a tour schedule. Later!Interview by Slang. © 2004 Guitarhoo!
A few snapshots of Ottmar's Spiral Subwave Studio
G!: You now have your own recording studio. What can you tell us about it?OL: In 1994 the studio started out with a Sony 2" 24 track recorder and Neve and Euphonix consoles. Nowadays I use an Apple G4 computer (OS 10.3.2) and ProTools HD (v. 6.2.3). I use a Neumann M 149 microphone on the guitar into a Martech MSS10 pre-amp and from there into the DigiDesign 192 audio interface.
G!: Your finger picking is so crisp and clear. Do you use a lot of compression on your guitar or do you naturally pick that hard?OL: I try to use as little compression as I can get away with. The crisp sound is mainly due to my picking. I articulate every single note.G!: You play quite a few stringed instruments. Can you tell us all the instruments you do play and which one gives you the most challenges?OL: I have a fretless Lute, which I started recording with in 1993 - "used it on "The Hours between Night + Day" for the first time. I also have an instrument Keith Vizcarra built for me, and which he calls a "Luitar". It is a fretless guitar with double course strings. E, A, and D are tuned in octaves and G, B and E are tuned in unison. I used it on "In the Arms of Love" and "The Santa Fe Sessions". In addition to that I have a Gibson ES335, which I bought in the mid-eighties, and the Vizcarra strat.I also have two Lester DeVoe Flamenco guitars, a Negra and a Blanca, one Eric Sahlin Blanca and a Vizcarra Negra Flamenco guitar.Not a lot of instruments, really. I know guitar players who have a few dozen guitars, but I usually play only one favorite guitar and don't need a lot of guitars...G!: I've seen you play live at the Orpheum Theatre in Vancouver, Canada. And the whole vibe of the band and yourself is very dreamy like, serene with the lighting, the all acoustic environment and performances. Yet there is this underlying fire burning beneath it all and you can really feel it from the whole band. Most of the show you had your eyes closed, barefoot, cross-legged and seemed to be in an almost meditative state, the whole show. When you are performing live are you taken to a far away place as it appears and feels like from the audience?OL: I think in a strange way I am far, far away and right there at the same time. I can't describe the feeling, but it is unique to the stage.G!: When you are playing and soloing live, in your mind, is all technical knowledge of the guitar gone and what are you thinking and feeling as you improvise?OL: If I had words for the feeling I would be a poet, yes? Since I do not, I play guitar. Sometimes I wish I could articulate those feelings, but it is impossible. As for technical knowledge - that comes and goes depending on the piece, on the mood etc..You are always playing with the prize firmly in sight, and that prize is inspiration, letting go, being in-the-moment, transported ourselves and the audience, feeling like we are inside the music etc. Sometimes it happens and sometimes it does not. The vibe of the individual concert has a lot to do with it. While most of the audience will probably not pick up on it, the other guys in the band always recognize when we are "on"! It is interesting that some people don't seem to understand the nature of music and inspiration. I get the feeling that they think that we are little more than circus performers and we should perform our act and that is all there is to it. A concert is the interaction of the band with the audience through music and it takes everybody in that theater to make the evening great.G!: Also at that show (as I'm sure it happens at most of your shows), a bouquet of roses were thrown on the stage as the crowd erupted for your encore. What was the strangest or most memorable item a fan has thrown onto your stage?OL: In Victoria, BC, a woman threw a small bottle, labeled "Love Potion" at me. It came from the upper balcony and missed the guitar by less than a foot. Although I protested, hoping that one could reason with the person who threw the bottle, the woman was removed from the theater by the promoter, who feared trouble or a law suit.G!: hahaha... well, you have to admire her rather direct approach there and it shows the dramatic effect your music does have on the chicks! haha...Do you do any particular finger exercises or rituals before you take the stage?OL: I slaughter a young goat before every show and drink the warm blood.Other than that I don't have a particular ritual.G!: hahaha... That's just pure evil... haha...What is the strangest or most memorable gig you have played?OL: We played a private show once and as we began our first song we saw that castanets were handed out to a group of about 30 or 40 drunken executives. As you can imagine, that many castanets, played with abandon and a complete lack of rhythm or expertise, were louder than us and I walked off, feeling that the executives were entertaining themselves quite nicely!G!: hahaha... priceless! What does your touring rig consist of?OL: A Shure KSM 44 and sometimes a KSM 141 on the Flamenco guitar. A Line6 amp for the strat.G!: You've done some excellent cover renditions of Hendrix's Little Wing and Led Zeppelin's Kashmir (off your "Little Wing" disc). What are some of your favorite covers and do you have any plans to do more?OL: I think I have done all of my favorite covers: "Samba Pa Ti" was covered on "Solo Para Ti", my first album for Epic Records. "Mercy, Mercy Me" and "Albatross" were covered on "The Hours between Night + Day", "Little Wing", "The Girl from Ipanema", "Kashmir", and "Paint it Black" were covered on "Little Wing"No, I don't have any plans to do more covers.G!: On occassion you pull out an electric guitar on tracks like "Summantra" from "The Hours Between Night + Day". And you use it more as a texture in the mix not as an in your face feature. Which electric guitars do you prefer?OL: I have been using a strat-copy, built by Keith Vizcarra, with Joe Barden pickups (they sound amazing) - and an ancient Kahler whammy bar I have used since the early eighties. On "Opium" I also used a Gibson ES335 on one or two songs.G!: Do you plan to explore a bit more on electric on future songs?OL: Only time will tell....G!: You already had a lot of success by the time record companies started to really push Pop-flavored Spanish music in the USA with artists like Ricky Martin, Enrique Englasias and Shakira. But did you notice an extra boom with your more authentic Latin instrumental audiences and record buyers because of this?OL: No.G!: How did you like the pop-style Spanish music those such artists were releasing?OL: Don't really have anything to say to that. Some of the music was OK and some of it wasn't....G!: Is "Spiral Subwave Records International" your own record label (and if so when did you establish this and do you feel you are better off with your own label verses other major record labels)?OL: I started SSRI in 2002, after I fulfilled my contract with Epic Records with the album "Little Wing". I signed a two album distribution deal for SSRI with Higher Octave and released "In the Arms of Love" in 2002 and "The Santa Fe Sessions" in February of 2003. I preferred not to extend my deal with Higher Octave and decided to leave all traditional distribution behind. I released "nouveaumatic" last Summer and my bassplayer's album "Transit" last month.G!: Do you plan to sign other artists or will this remain a vehicle for your own (and bandmates) releases?OL: Right now my company is very small and I can be very hands-on. At this time I have no plans expanding the company in order to sign other artists.G!: You've performed with some legendary players; Carlos Santana on "Samba Pa Ti" and Al DiMeola on "Bullfighters Dream", to name a couple and both excellent tracks by the way. What can you tell us about those experiences?OL: That Al DiMeola played on "Bullfighter's Dream" is a rumor I had not heard yet. He is certainly not credited on the album. Where did you hear that one?G!: oh, I heard an mp3 on the net and it credited both you and Al on the track. I guess the guy who made the mp3 did that falsely to get more downloads or whatever... But it didn't sound like Al DiMeola was in the mix...Are there any artists you'd like to perform with whom you haven't already?OL: David Sylvian, Ryuichi Sakamoto, Brian Eno, Jon Hassell, Ry Cooder and many more....G!: You are presently in the studio recording. How is it all coming along and what can you tell us about this project in the works?OL: I just finished mixing and mastering the new album, "La Semana" this week. We will sell a very basic CD package of "La Semana" for $12, which is even cheaper than buying the music from iTunes.....and a signed limited edition for $60/ea. The limited edition will have an additional song, as well as drawings and photos and notes about the music. The album will be released during the first week of June.G!: Great! You must have a toured lined up for this project. What can you tell us about it?OL: This year we will have a new quartet. The other members of the band will be Jon Gagan - electric bass guitars + synthesizer, Ron Wagner - tablas, dumbek + percussion, and Robbie Rothchild - cajon, congas, djembe + percussion. The "La Semana" tour starts around June 10th and we will spend about 4 weeks on the west coast. Then we will take a little break and do another 6 weeks mainly on the east coast starting in September. After that we will have a couple of weeks off and then we'll tour in Mexico and South-America in November.For more information please go to: http://www.lunanegra.com/www/lnm/touring/lnm_touring_set.htmlG!: What do you find more rewarding composing and recording or touring?OL: Recording and performing/touring are completely different aspects of my life. I love the fact that I can add lots of guitars to a recording and live I have to find a way to make do by myself....so they are very different challenges...I am not using keyboards or synthesizers or any instruments other than Flamenco guitar, bass and percussion on my new album, but some songs have something like 10 guitar tracks! Performing is about the exchange with the audience, something I can't get from the studio...it's about making the moment count...it's about thinking on your feet and rising to the challenge, it's about communicating with the rest of the band and the audience...Both special...but to me very different...G!: Back to what you were saying how different artforms can bleed together (cooking, dancing, painting inspiring music and vice versa). Now, if I threw in front of you a pile of Chicken Enchiladas, large bowl of Guacamole sprinkled with Piquillo Peppers, a 40oz bottle of Tequila with the worm, a Pinata stuffed with fresh Dead Presidents, a black and white photo of Charo doing her "cuchi, cuchi" wiggle dance, and a .38 Special loaded with blanks, what type of music or song title would jump out at you?OL: I ate the enchiladas (with red and green chili - something we call Christmas here in Santa Fe) and drank the Tequila and now I am squinting my eyes shut 'cause I definitely don't wanna wake up from this hangover with an image of Charo.G!: hahaha... What are some of your hobbies and interests outside of music?OL: Whoa, there is life outside music?No, just kidding! I like to draw, take photos, cook, play racquetball, and do Pilates twice a week...Actually some of my photos and drawings will be in the Limited Edition of the new album "La Semana".G!: Great! Did you prefer the original movie "El Mariachi" or the remake "Desperado" and at any point in your career did you feel like the main character in that film?OL: And then there is the newest installment "Once upon a Time in Mexico"! I thought the first and original movie was the best one of the three. It had a vibe that was completely lost in the remake and the newest version. Although Johnny Depp saves the new movie - almost. He is brilliant.G!: I agree. The original was raw, quirky and on the edge. Do you have a favorite Confucious saying?OL: No.G!: Do you have any advice you would like to pass onto aspiring musicians?OL: Follow your Bliss?G!: Ottmar, it was a blast, thanks for taking out the time for this interview. We all look forward to your future projects!OL: You are welcome. My new album will be available in the beginning of June. You can check our web site: www.lunanegra.com for availability and for a tour schedule. Later!Interview by Slang. © 2004 Guitarhoo!
Vince Nims Rule of Life. I liked ti so I copied it to hear.
VINCE NIMS--MY RULE OF LIFEThe Roamin' Catholic Banana Guy!Serving the Catholic Church through message, music and media!
The following text was written as the result of prayerful discernment. The Franciscan School of Theology encourages students to consider creating a statement, a rule such as this, to mark the primary aspects of one's spiritual intent and aspirations. It's more than this, but it is basically how I hope to live. It's personal but I share it with you in hope of encouraging you to learn how to write your own. If you wish to inquire about the rule, please feel free to write to me.
MY RULE OF LIFE: As I will to live today, and everyday, I make these words my claim, my right, my desire, dear, Lord! Today, and every day, I answer Your call. I wake, stand and go, only to be Yours. You are the air I breathe. Take me. I have no mission, but Yours; no ministry, but Yours; no hope, but Yours; no love, but Yours. Today, and everyday, I will to endure as a father. I will to nurture my child, share my hope in You and seek to be present. I will to speak to my child; I will to listen. I will to love my child--the first ministry you have given me. Today, and everyday, I will to pray. My action is my prayer. My voice is my proclamation. My zeal is my hope. My grief is my appeal. My guilt is my plea. My smile is Your joy. My thought is my litany. My life is my liturgy. My prayer is ceaseless. 12:12 pm will belong to You. At this moment of each day I will to pause and recall Your word that is embedded on my heart, "I urge therefore, brothers, by the mercies of God, to offer your bodies as a living sacrifice, holy and pleasing to God, your spiritual worship. Do not conform yourself to this age, but be transformed by the renewal of your mind, that you may discern what is the will of God, what is good and pleasing and perfect" (Romans 12: 1-2) I ask You to always lead me to these words. Today, and everyday, I will to be friend and brother. When I can give, I will to give. When I can visit, I will to visit. When I can share, I will to share. When I can comfort, I will to comfort. I will to laugh and ensure that all are welcome to my table. I will to be kind. I will to seek and foster solidarity. My faith is about us. I will to do these things and not ask why. Today, and everyday, I will to work. I will to say yes, before I say no. Where you call me, I will to go. I will to teach, sing and share. When I am done with one task, I will to ask "What next?" Today, and everyday, I will to love myself, my body and my soul. I will to rest, renew, recall and wait. I will to never release the child I am and honor whose child I am. I will to always remember that the love I proclaim to others; belongs to me. Today, and everyday, I will to quell my demons. I will to avoid the toxic nemeses that threaten to detach me from my self, the faith, and You. In me, these will not endure: apathy, hate, wealth, division, lust and isolation. Your grace will be their death. I will to be unbroken, uncontrolled or diminished by their decrees. Your reign will rule my passions. My integrity, Your gift to me and all humanity, will not fade or be taken. Today, and everyday, I will to remember those who have gone before me; My father, my mother, my family, my friends, my Community, our saints; the prophets of hope, service and determination; they are co-authors of my own song. I will to live in gratitude. May Your indwelling presence and grace unfold in my life today, and every day. I will to be immersed in You forever and present to the world for just a time. When I rest with You, oh, Lord, I will my simple words to be: I said yes more than no; I smiled more than cried; I lived before I died; I believed! Oh, yes, I still believe. Today, and everyday, I will to embody and live this rule. Oh thank You, Lord! Thank You, dear Jesus! Thank You, sweet Spirit of Life.
geovisit();
The following text was written as the result of prayerful discernment. The Franciscan School of Theology encourages students to consider creating a statement, a rule such as this, to mark the primary aspects of one's spiritual intent and aspirations. It's more than this, but it is basically how I hope to live. It's personal but I share it with you in hope of encouraging you to learn how to write your own. If you wish to inquire about the rule, please feel free to write to me.
MY RULE OF LIFE: As I will to live today, and everyday, I make these words my claim, my right, my desire, dear, Lord! Today, and every day, I answer Your call. I wake, stand and go, only to be Yours. You are the air I breathe. Take me. I have no mission, but Yours; no ministry, but Yours; no hope, but Yours; no love, but Yours. Today, and everyday, I will to endure as a father. I will to nurture my child, share my hope in You and seek to be present. I will to speak to my child; I will to listen. I will to love my child--the first ministry you have given me. Today, and everyday, I will to pray. My action is my prayer. My voice is my proclamation. My zeal is my hope. My grief is my appeal. My guilt is my plea. My smile is Your joy. My thought is my litany. My life is my liturgy. My prayer is ceaseless. 12:12 pm will belong to You. At this moment of each day I will to pause and recall Your word that is embedded on my heart, "I urge therefore, brothers, by the mercies of God, to offer your bodies as a living sacrifice, holy and pleasing to God, your spiritual worship. Do not conform yourself to this age, but be transformed by the renewal of your mind, that you may discern what is the will of God, what is good and pleasing and perfect" (Romans 12: 1-2) I ask You to always lead me to these words. Today, and everyday, I will to be friend and brother. When I can give, I will to give. When I can visit, I will to visit. When I can share, I will to share. When I can comfort, I will to comfort. I will to laugh and ensure that all are welcome to my table. I will to be kind. I will to seek and foster solidarity. My faith is about us. I will to do these things and not ask why. Today, and everyday, I will to work. I will to say yes, before I say no. Where you call me, I will to go. I will to teach, sing and share. When I am done with one task, I will to ask "What next?" Today, and everyday, I will to love myself, my body and my soul. I will to rest, renew, recall and wait. I will to never release the child I am and honor whose child I am. I will to always remember that the love I proclaim to others; belongs to me. Today, and everyday, I will to quell my demons. I will to avoid the toxic nemeses that threaten to detach me from my self, the faith, and You. In me, these will not endure: apathy, hate, wealth, division, lust and isolation. Your grace will be their death. I will to be unbroken, uncontrolled or diminished by their decrees. Your reign will rule my passions. My integrity, Your gift to me and all humanity, will not fade or be taken. Today, and everyday, I will to remember those who have gone before me; My father, my mother, my family, my friends, my Community, our saints; the prophets of hope, service and determination; they are co-authors of my own song. I will to live in gratitude. May Your indwelling presence and grace unfold in my life today, and every day. I will to be immersed in You forever and present to the world for just a time. When I rest with You, oh, Lord, I will my simple words to be: I said yes more than no; I smiled more than cried; I lived before I died; I believed! Oh, yes, I still believe. Today, and everyday, I will to embody and live this rule. Oh thank You, Lord! Thank You, dear Jesus! Thank You, sweet Spirit of Life.
geovisit();
20050724
Victor' Guitar Gear as of 7/24/05
Guitar Equipmentl 4vvt. 7/24/05
Guitars (4)
1. 1978/79 Fender Strat S9-09043 w/Kahlor Tream vintage pu & Anderson bridge PU
2. 2004 Montalvo Flamenco Negra w/Pegs # 109720 Palo Escrito back & sides, Canadian Red Cedar top, Cocobolo Fingerboard & Cocobolo pegs-52+mm nut (My Favorite for feel)
3. 2005 Montalvo Flamenco Negra w/Pegs #104101 Palo Escrito back & sides, Canadian Red Cedar top, Ebony Fingerboard & Ebony pegs-52mm nut (My favorite for sound)
4. 2004 Yamaha CG171SF Flamenco # Q3P107233 w/ Fishman Acoustic Matrix Natural I Narrow 2.3mm
5. DeSul Pratice Guit.
6. LeTechique Pratice
Pre Amp, Effects, Mixer, Amp and Speakers: (Sound Gear)
1. Yamaha FX770 Guitar Effects Processor #KH01695
2. PreSonus Audio Electronic digiTube Single-Channel Tube Mic-Preamplifier with S/PDIF Output
3. Behringer MX 1604A Mixer
4. TC Electronics M-300
5. Alesis Power Amp RA 100
6. Alesis M1 Active MkII-2x
7. DBX compessor-166XL
8. 2 Kustom 12 in Speaker PA cabs w/horn 150watts each
Mics:
1. Shure KSM 141
2. Audio Technica AT 4040
3. Sure 2-SM-57
4. Radio Shack 33-3030
5. Audio Technica DR-VX1
Gear:
1. Yamaha CG 171 SF
2. Boss DS-1.
3. Fostex X-15Multitracker
4. Sabine tuner
5. Ernie Ball Volume Pedal 6166
6. Art pantom power 2 chan-48v.
7. xitel INport (audio converter)
8. iPod min
9. 2, Kustom12in Pa Cabs
10. Stands (On Stage Stands) A. Music (2) B. Amp (1) C. Mike (5)
11. Korg CA-20 Tuner
12. Metriaa Metronome
13. E-Bow
14. Roland VS 840 #AL02831-B
15. Audio Technica AT-4040
16. Cables (Monster Cable)
17. Shure Mikes SM 57 (2)
18. Shure KSM 141
19. Aleis Nano Verb
20. JVC CD player
21 2x Sony Headphones & Others
22. Mundo Beat
23. Intellitouch Tuner
24. YamahaRY20 Rhythm Programer
25. Roland MA8 Speakers
26. 5 Guitar stands
27. Anvil Rack Case & Brief Case
28. Behringer MX 1604A Mixer
29. Midiman Radium 49 USB KYBD
30. Mac G3 Blue Book 300Mhz. (Used for drum and keyboard sounds)
Guitars (4)
1. 1978/79 Fender Strat S9-09043 w/Kahlor Tream vintage pu & Anderson bridge PU
2. 2004 Montalvo Flamenco Negra w/Pegs # 109720 Palo Escrito back & sides, Canadian Red Cedar top, Cocobolo Fingerboard & Cocobolo pegs-52+mm nut (My Favorite for feel)
3. 2005 Montalvo Flamenco Negra w/Pegs #104101 Palo Escrito back & sides, Canadian Red Cedar top, Ebony Fingerboard & Ebony pegs-52mm nut (My favorite for sound)
4. 2004 Yamaha CG171SF Flamenco # Q3P107233 w/ Fishman Acoustic Matrix Natural I Narrow 2.3mm
5. DeSul Pratice Guit.
6. LeTechique Pratice
Pre Amp, Effects, Mixer, Amp and Speakers: (Sound Gear)
1. Yamaha FX770 Guitar Effects Processor #KH01695
2. PreSonus Audio Electronic digiTube Single-Channel Tube Mic-Preamplifier with S/PDIF Output
3. Behringer MX 1604A Mixer
4. TC Electronics M-300
5. Alesis Power Amp RA 100
6. Alesis M1 Active MkII-2x
7. DBX compessor-166XL
8. 2 Kustom 12 in Speaker PA cabs w/horn 150watts each
Mics:
1. Shure KSM 141
2. Audio Technica AT 4040
3. Sure 2-SM-57
4. Radio Shack 33-3030
5. Audio Technica DR-VX1
Gear:
1. Yamaha CG 171 SF
2. Boss DS-1.
3. Fostex X-15Multitracker
4. Sabine tuner
5. Ernie Ball Volume Pedal 6166
6. Art pantom power 2 chan-48v.
7. xitel INport (audio converter)
8. iPod min
9. 2, Kustom12in Pa Cabs
10. Stands (On Stage Stands) A. Music (2) B. Amp (1) C. Mike (5)
11. Korg CA-20 Tuner
12. Metriaa Metronome
13. E-Bow
14. Roland VS 840 #AL02831-B
15. Audio Technica AT-4040
16. Cables (Monster Cable)
17. Shure Mikes SM 57 (2)
18. Shure KSM 141
19. Aleis Nano Verb
20. JVC CD player
21 2x Sony Headphones & Others
22. Mundo Beat
23. Intellitouch Tuner
24. YamahaRY20 Rhythm Programer
25. Roland MA8 Speakers
26. 5 Guitar stands
27. Anvil Rack Case & Brief Case
28. Behringer MX 1604A Mixer
29. Midiman Radium 49 USB KYBD
30. Mac G3 Blue Book 300Mhz. (Used for drum and keyboard sounds)
Notre sent to a person on EBAY who was trying to pass this off as an Ottmar CD
You are either a very dishonest person or uninformed of what you sell. This is not Ottmar Liebert or Luna Nega per anything to do with his music. You should be ashamed of your self for this you are very very very poor ebayer. Its people like you who run it for all of us. Shame on you. The seller is delosangeles_store ( 1124) bad ebayer.
Dont Worry, Be Happy
Don't Worry, Be Happy
This quote touched me. It was made during a recent graduation ceremony at Berklee College of Music in Boston, by Bobby McFerrin ("Don't Worry, Be Happy!")
"What's important is a deep and profound spiritual reality, the joy of simply making and sharing music with others, and a sense of gratitude for each note that you play."
This quote touched me. It was made during a recent graduation ceremony at Berklee College of Music in Boston, by Bobby McFerrin ("Don't Worry, Be Happy!")
"What's important is a deep and profound spiritual reality, the joy of simply making and sharing music with others, and a sense of gratitude for each note that you play."
20050722
20050721
Victor in Living Room
This is taken on a camera Kodak CX 4230 that my friend Charline in Sunnyval CA just sent to me. I cant belive it I used a digatal camera with blowing everything up. By the Way thanks Charline. VT
20050719
20050718
Letter From John Gilliat
Hi Victor Sorry to take so long to respond. It's been a very busy time for me here.I don't know to many player in NJ playing Nuevo Flamenco style guitar.I'll keep you in mind if I hear of someone. Nice to hear you are enjoying playing this style of music. If you perform for $$$. This style is great if you are looking for work at a corporate level. You can still have a lot of fun shredding on the guitar and get a great deal of work performing back ground music for all kinds of funtions.I do not have any dates in NJ yet, however I hope to do some more touring in the US soon. I'll try and keep everyone in the loop.Best,John G.
Freedom, Fundamentalist, Liberal, and the evangelical
A parable of freedomLet me develop a little parable. It uses flight as a picture of freedom (memories of Jonathan Livingstone Seagull!) and seeks to characterize (not, I hope, caricature) the essential difference between the fundamentalist, the liberal and the evangelical. The fundamentalist seems to me to resemble a caged bird, which possesses the capacity for flight, but lacks the freedom to use it. For the fundamentalist mind is confined or caged by an over-literal interpretation of Scripture, and by the strict traditions and conventions into which this has led him. He is not at liberty to question these, or to explore alternative, equally faithful ways of applying Scripture to the modern world, for he cannot escape from his cage. The liberal seems to me to resemble (no offence meant!) a gas-filled balloon, which takes off and rises into the air, buoyant, free, directed only by its own built-in navigational responses to wind and pressure, but entirely unrestrained from earth. For the liberal mind has no anchorage; it is accountable only to itself. The evangelical seems to me to resemble a kite, which can also take off, fly great distances and soar to great heights, while all the time being tethered to earth. For the evangelical mind is held by revelation. Without doubt it often needs a longer string, for we are not renowned for creative thinking. Nevertheless, at least in the ideal, I see evangelicals as finding true freedom under the authority of revealed truth, and combining a radical mindset and lifestyle with a conservative commitment to Scripture.
--From "Essentials", by David L. Edwards and John Stott (London: Hodder and Stoughton, 1988), p. 106.
--From "Essentials", by David L. Edwards and John Stott (London: Hodder and Stoughton, 1988), p. 106.
20050714
20050713
Victors Mobile Studio.
Theres a Flamenco Negra, Mac G3, Roland VS 840, Bereniger 12 Chanel Mixer, Yamah Drum Machine, Palm Tungstin T3, Prosonus Tube Pre, Audio Tech 4040 Mic, Mundo Beat Metronome, M Audio Radious 51 Midi Controler Keyboard, Powered Speakers, and a Aleis Nano Verb
20050708
New Class for Men (From Charline B)
NEW EVENING CLASSES FOR MEN
OPEN TO MEN ONLY - ALL MEN ARE WELCOME
Note: due to the complexity and level of difficulty, each course will accept a maximum of eight participants. The course covers two days and topics covered in this course include:
DAY ONE
HOW TO FILL ICE CUBE TRAYSStep by step guide with slide presentationTOILET ROLLS - DO THEY GROW ON THE HOLDERS?Roundtable discussionDIFFERENCES BETWEEN LAUNDRY BASKETS AND FLOORPracticing with hamper (pictures and graphics)DISHES & CUTLERY - DO THEY LEVITATE/FLY TO KITCHEN SINK OR DISHWASHER BY THEMSELVES?Debate among a panel of expertsLOSS OF VIRILITYLosing the remote control to your significant other - Help line and support groupsLEARNING HOW TO FIND THINGSStarting with looking in the right place instead of turning the house upside down while screaming - Open forum
DAY TWO
EMPTY MILK CARTONS - DO THEY BELONG IN THE 'FRIG OR THE TRASH BIN?Group discussion and role-playHEALTH WATCH - BRINGING HER FLOWERS IS NOT HARMFUL TO YOUR HEALTHPowerPoint presentationREAL MEN ASK FOR DIRECTIONS WHEN LOSTReal life testimonial from the one man who didIS IT GENETICALLY IMPOSSIBLE TO SIT QUIETLY AS SHE PARALLEL PARKS?Driving simulationLIVING WITH ADULTS - BASIC DIFFERENCES BETWEEN YOUR MOTHER AND YOUR PARTNEROnline class and role-playingHOW TO BE THE IDEAL SHOPPING COMPANIONRelaxation exercises, meditation and breathing techniquesREMEMBERING IMPORTANT DATES & CALLING WHEN YOU'RE GOING TO BE LATEBring your calendar or PDA to classGETTING OVER IT - LEARNING HOW TO LIVE WITH BEING WRONG ALL THE TIMEIndividual counselors available
OPEN TO MEN ONLY - ALL MEN ARE WELCOME
Note: due to the complexity and level of difficulty, each course will accept a maximum of eight participants. The course covers two days and topics covered in this course include:
DAY ONE
HOW TO FILL ICE CUBE TRAYSStep by step guide with slide presentationTOILET ROLLS - DO THEY GROW ON THE HOLDERS?Roundtable discussionDIFFERENCES BETWEEN LAUNDRY BASKETS AND FLOORPracticing with hamper (pictures and graphics)DISHES & CUTLERY - DO THEY LEVITATE/FLY TO KITCHEN SINK OR DISHWASHER BY THEMSELVES?Debate among a panel of expertsLOSS OF VIRILITYLosing the remote control to your significant other - Help line and support groupsLEARNING HOW TO FIND THINGSStarting with looking in the right place instead of turning the house upside down while screaming - Open forum
DAY TWO
EMPTY MILK CARTONS - DO THEY BELONG IN THE 'FRIG OR THE TRASH BIN?Group discussion and role-playHEALTH WATCH - BRINGING HER FLOWERS IS NOT HARMFUL TO YOUR HEALTHPowerPoint presentationREAL MEN ASK FOR DIRECTIONS WHEN LOSTReal life testimonial from the one man who didIS IT GENETICALLY IMPOSSIBLE TO SIT QUIETLY AS SHE PARALLEL PARKS?Driving simulationLIVING WITH ADULTS - BASIC DIFFERENCES BETWEEN YOUR MOTHER AND YOUR PARTNEROnline class and role-playingHOW TO BE THE IDEAL SHOPPING COMPANIONRelaxation exercises, meditation and breathing techniquesREMEMBERING IMPORTANT DATES & CALLING WHEN YOU'RE GOING TO BE LATEBring your calendar or PDA to classGETTING OVER IT - LEARNING HOW TO LIVE WITH BEING WRONG ALL THE TIMEIndividual counselors available
God's Trying to Tell You Something? (From Charline B)
Have you ever thought that maybe God was trying to tell you something but you just weren’t bright enough or spiritual enough or something enough to ‘get it’? Did it ever occur to you that this way of thinking is not giving God enough credit?
Let’s examine the facts: God created you, He knows how you’re wired, and He knows how you process things. (After all, He designed your system.) SO…isn’t God smart enough to tell you what He needs you to know in a way that you can understand? After all, He wants you to get His point. Why would he send an incomprehensible message?
He wouldn’t. Relax. Keep your spiritual ears open and trust God. He’s perfectly capable of getting His point across and willing to go to great lengths to do so. Remember the story of Balaam’s donkey? (You’ll find it in Numbers 22.) It just goes to show that whatever it takes - talking animal, burning bush (Exodus 3), still, small voice (1 Kings 19), or something else entirely - God will speak to you. You are THAT important to Him
Let’s examine the facts: God created you, He knows how you’re wired, and He knows how you process things. (After all, He designed your system.) SO…isn’t God smart enough to tell you what He needs you to know in a way that you can understand? After all, He wants you to get His point. Why would he send an incomprehensible message?
He wouldn’t. Relax. Keep your spiritual ears open and trust God. He’s perfectly capable of getting His point across and willing to go to great lengths to do so. Remember the story of Balaam’s donkey? (You’ll find it in Numbers 22.) It just goes to show that whatever it takes - talking animal, burning bush (Exodus 3), still, small voice (1 Kings 19), or something else entirely - God will speak to you. You are THAT important to Him
20050703
A good story from Thomas Michuals Jurnal.
Snappy Answer #5
A crowded United Airlines flight was canceled. A single agent was rebooking a long line of inconvenienced travelers. Suddenly an angry passenger pushed his way to the desk. He slapped his ticket down on the counter and said, "I HAVE to be on this flight and it has to be FIRST CLASS." The agent replied, "I'm sorry sir. I'll be happy to try to help you, but I've got to help these folks first, and I'm sure we'll be able to work something out." The passenger was unimpressed. He asked loudly, so that the passengers behind him could hear, "DO YOU HAVE ANY IDEA WHO I AM?" Without hesitating, the agent smiled and grabbed her public address microphone. "May I have your attention please," she began her voice heard clearly throughout the terminal. "We have a passenger here at Gate 14 WHO DOES NOT KNOW WHO HE IS. If anyone can help him find his identity, please come to Gate 14." With the folks behind him in line laughing hysterically, the man glared at the United agent, gritted his teeth and swore. "F*** you!" Without flinching, she smiled and said, "I'm sorry, sir, but you'll have to get in line for that, too."
A crowded United Airlines flight was canceled. A single agent was rebooking a long line of inconvenienced travelers. Suddenly an angry passenger pushed his way to the desk. He slapped his ticket down on the counter and said, "I HAVE to be on this flight and it has to be FIRST CLASS." The agent replied, "I'm sorry sir. I'll be happy to try to help you, but I've got to help these folks first, and I'm sure we'll be able to work something out." The passenger was unimpressed. He asked loudly, so that the passengers behind him could hear, "DO YOU HAVE ANY IDEA WHO I AM?" Without hesitating, the agent smiled and grabbed her public address microphone. "May I have your attention please," she began her voice heard clearly throughout the terminal. "We have a passenger here at Gate 14 WHO DOES NOT KNOW WHO HE IS. If anyone can help him find his identity, please come to Gate 14." With the folks behind him in line laughing hysterically, the man glared at the United agent, gritted his teeth and swore. "F*** you!" Without flinching, she smiled and said, "I'm sorry, sir, but you'll have to get in line for that, too."
communication breakdown and deffeensivness lead to poor busness. Why is it so hard to get heard anymore?
George, I find you very defensive and not even trying to understand where I am coming from I will no longer do any business with you and will inform others of my interactions with you as well. I will be writing an article soon and I will make sure to mention my dealing with you and your shop. You will be free to dispute my thoughts and fact. Please don't reply to this email just know that you have a very disappointed customer who would have gladly been willing to buy at least 2-3 more guitars and refer many to you. You salesmen ship and customer care is something to be desired. Having run a guitar shop that is still is business that sold over 200.000 yearly we would have never talked this way to a customer. I wish you well. And I am very sorry that this is how you have chosen to serve your customers. Dr. Victor V. Tarassov
From: Berkeley Musical Instrument [mailto:yorch@pacbell.net] Sent: Friday, July 01, 2005 9:03 AMTo: tarassov, victorSubject: Re: Question on Sale of Guitar
tarassov, victor wrote:
Hi victor tarassov hear,
I was on your web page and noticed that the price of a flamenco negra is” The Negra Framenco is made of Palo Escrito Rosewood on the back and sides, withCanadian Red Cedar for the top, and Rosewood fingerboard. Price $900.00 pegs add 80.00 that’s 980.00 with 25% off that would be 735.00 and then 45.00 for shipping total 780.00 and that would be if the guitar was brand new. This guitar has seen some play its got nick and scratcs all over. I like the neck that its 52mm at the nut but two of the pegs need replacement and refitting. Back in eary May you had said that you would take off 50.00 for shop where that then make the guitar at 730.00 and that would have been a good deal but what I paid was 800+ Im not sure hear but I feel like I was dooped hear. I will await for your repy I am a bit disaponted in all of this. The pegs and adjustment will cost me an additional 150.00 as well.
Victor
Dear Victor,I don't kanow anything about your being dooped, and I take your acqusation seriously, and personaly, and it hurts my feelings, and I resent it. Please do your math again and don't forget the case. My business is about selling good guitars, not cheating people. We've been over the sale of that guitar a few times, and we agreed on the price together. As far as the pegs go, when the guitar left here I had no trouble tuning it. Get some peg dope from a violin shop and put it on the peg. The last winding of the string should touch the peghead just before it comes up to pitch. I think $150.00 is exorbitant to refit 2 pegs, but if you want to upgrade the guitar, be my guest, but not at my expense. I really do hope you get to enjoy the guitar, and not delve on the purchase history.SincerelyGeorge Katechis Montalvo.
From: Berkeley Musical Instrument [mailto:yorch@pacbell.net] Sent: Friday, July 01, 2005 9:03 AMTo: tarassov, victorSubject: Re: Question on Sale of Guitar
tarassov, victor wrote:
Hi victor tarassov hear,
I was on your web page and noticed that the price of a flamenco negra is” The Negra Framenco is made of Palo Escrito Rosewood on the back and sides, withCanadian Red Cedar for the top, and Rosewood fingerboard. Price $900.00 pegs add 80.00 that’s 980.00 with 25% off that would be 735.00 and then 45.00 for shipping total 780.00 and that would be if the guitar was brand new. This guitar has seen some play its got nick and scratcs all over. I like the neck that its 52mm at the nut but two of the pegs need replacement and refitting. Back in eary May you had said that you would take off 50.00 for shop where that then make the guitar at 730.00 and that would have been a good deal but what I paid was 800+ Im not sure hear but I feel like I was dooped hear. I will await for your repy I am a bit disaponted in all of this. The pegs and adjustment will cost me an additional 150.00 as well.
Victor
Dear Victor,I don't kanow anything about your being dooped, and I take your acqusation seriously, and personaly, and it hurts my feelings, and I resent it. Please do your math again and don't forget the case. My business is about selling good guitars, not cheating people. We've been over the sale of that guitar a few times, and we agreed on the price together. As far as the pegs go, when the guitar left here I had no trouble tuning it. Get some peg dope from a violin shop and put it on the peg. The last winding of the string should touch the peghead just before it comes up to pitch. I think $150.00 is exorbitant to refit 2 pegs, but if you want to upgrade the guitar, be my guest, but not at my expense. I really do hope you get to enjoy the guitar, and not delve on the purchase history.SincerelyGeorge Katechis Montalvo.
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