20070630
20070629
Edirol R09 Case
Just orded this case for my trip this summer. It should come in handy when I am by the beach. Will be using this as well with LightHouse ED stuff.
20070628
Julian Bream - My Life in Music
Just got this and its wonderfull and what a wonderfull man and to hear him talk about his family.
Julian Bream - My Life in Music
The way covered by Julian Bream made him as one of the most unanimously admired guitarists by the other guitarists - that is an achievement! Furthermore, he aroused enthusiasm of many renowned composers so that they dedicated to him substantial works which became established in the repertoire of the instrument, right from their creation.
Thanks to the magic of the DVD and the possibilities of subtitling it allows (English, French, Spanish, German for the PAL version; English and Japanese for the NTSC version) and especially thanks to those (Paul Balmer and Judy Caine) who dreamed and then, gave the life to this production, we have the chance to hear him expressing in their details the episodes of his life completely dedicated to the Music.
Let us underline that each of these episodes is magnificently illustrated by a numerous documentation which reflects the quality of the preparation and which makes this production a reference.
We also discovered, besides the fantastic instrumentalist and musician we already knew for a long time, a sensitive and warm man... Can this valuable production be seen and heard by the most. _ Guitare Diffusion
First Part - Main Profile - 120 minutes including an hour of performance
Subtitles: PAL version - English, French, Spanish and German - NTSC Version: English and Japanese.
In his 70th year Julian Bream tells his remarkable story with contributions from John Williams, Peter Pears, Igor Stravinsky, William Walton, George Malcolm, Richard Rodney Bennett and The Julian Bream Consort. Illustrated with over an hour of complete musical performance.
Julian Bream is considered by many as the greatest classic guitarist of the twentieth century, as if this were not enough he quietly re invented the renaissance lute and brought it to a new audience.
The Studio of Jay Delp Productions
A big project for Lighthouse Network is the "The Mark12.30 Project" and we have decided to use the studio of Jay Delp at Jay Delp Productions. He will be videoing the whole project and producing the DVD's Palm Studio will provide the music for the 5 DVD set. Very exciting time for us at LightHouse will post more as time moves on. He is on the web at www.jaydelp.com
20070627
Godin ACS
ACS-SA, Two-voice
The ACS blends classical guitar concepts with elements of solid body design. The incredibly comfortable neck from the Multiac Nylon is used here with a Maple body to achieve our most affordable synth access guitar ever. Although the body is chambered, response from the maple top is more typical of a solid body design than that of a traditional acoustic guitar. This design results in an instrument that is virtually free of feedback, making it easy to use even when the band gets loud.
Electronics
The engine in both the ACS-SA & ACS-SA Slim includes individual transducer saddles powered by a customized preamp system from the RMCTM Pickup Company. This system not only produces superb amplified sound, but also produces a hexaphonic output through a 13-pin connector enabling direct access to RolandTM GR-Series guitar synthesizers.
Specs
Mahogany neck
Ebony Fingerboard
16" fingerboard radius
25 1/2" Scale
1 7/8" nut width
Chambered Silver Leaf Maple body
Custom RMC electronics with 13-pin connector for direct control of Roland GR Series and Axon AX100 guitar synths
Natural Semi-Gloss, Blue High-Gloss or Black High-Gloss finish
"A truly beautiful instrument that bridges the gap between a traditional nylon string guitar and the sci-fi future of computers, synths and samplers. I could not have done my Flamenco A Go Go record without it!" - Steve Stevens
"When I play guitar, I need tone and quality. The fact that my ACS doesn't feedback is an added bonus. Godin Guitars give me all this and more." - Aaron Mclain (Marc Anthony Band)
20070625
Roland GR-1 May Be on the Way to Palm
I have had two of these in the past. I used it with the Godan SA Nylon Gutiar. I hope to use this with my Fender Strat and into the MOTU 828mk2 and drive synth sounds on the Mac in Logic 7.2 There will be some really cool things going on. The other neat thing is that what I play on the Strat will get picked up and traslated into music notation. Should be very cool.
Roland GR-1
Roland's now discontinued synthesizer module, the GR1 is a 'floor' module design that features internal sounds from Roland's Sound Canvas. Compatible with the existing GK2 guitar pickup, the GR1 features 24 note polyphony / 4 channel multi-timbral operation, 64 patch internal memory, 200 internal tones, built- in 4 track sequencer, footswitches (1 - 4 plus up/down), built-in reverb / delay / chorus, and more. An optional expansion board will double the internal tones to 400. Connectors include L(mono)/R audio outputs, guitar return L(mono)/R, guitar out, volume pedal, expression pedal, headphones, memory card slot, and midi in/out.
Features:
o 200 PCM tones, expandable to 400 with optional expansion board
o Digital reverb, delay, chorus and flanging
o Four-part multitimbral via MIDI / 2000 note internal sequencer
20070621
Taz and Others on Reason and Logic
little article I found
What I've been doing when I want to record Reason's sound directly into Logic is to send Reason's individual mono ReWire channels (that appear in Logic) to some Stereo Busses in Logic. Then you can solo each element (on the stereo busses) and do a Bounce in Logic.
It's as easy as that. Just Solo and Bounce. The Bounce command is located in the File menu in Logic. When you bounce the audio, you can check the box at the bottom of the window that says "Add file to Audio menu" (or whatever). Then you can drag it onto an audio track... I don't check the box, I manually drag the audio files from a Finder window onto an Audio track.
I understand how convenient it is to be able to record audio straight into Logic (from Reason)... especially if you are using plugins in Logic on the separate ReWire channels that are coming in from Reason. However, sometimes it bounces audio faster if you just Quit both programs, then launch Reason and export the Audio as AIF's from Reason when it's not running in ReWire slave mode. That is if you have all of Reason's devices going out Reason's outs 1+2 and aren't using plugins on them in Logic. Then again, you can copy plugins from track to track in Logic's Track Mixer (not in the Audio Environment) by holding CMD+OPT while dragging & dropping. So if you're running plugins on Reason's ReWire inputs, you can put those plugins onto Audio Tracks after Bouncing Reason's audio and putting it onto an Audio track. Make sense??? Sorry for the long-windedness.
The obvious problems would be (if you were connecting Reason's devices directly to multiple outputs on Reason's Hardware Interface rather than running them all through Reason mixers and then out through the Hardware interfaces Outs 1+2) you wouldn't be able to export the individual Reason devices without re-routing their outputs to Reason's main Outputs 1+2 or a Reason mixer.
Taz Sellers
Creative
King of Prussia
What I've been doing when I want to record Reason's sound directly into Logic is to send Reason's individual mono ReWire channels (that appear in Logic) to some Stereo Busses in Logic. Then you can solo each element (on the stereo busses) and do a Bounce in Logic.
It's as easy as that. Just Solo and Bounce. The Bounce command is located in the File menu in Logic. When you bounce the audio, you can check the box at the bottom of the window that says "Add file to Audio menu" (or whatever). Then you can drag it onto an audio track... I don't check the box, I manually drag the audio files from a Finder window onto an Audio track.
I understand how convenient it is to be able to record audio straight into Logic (from Reason)... especially if you are using plugins in Logic on the separate ReWire channels that are coming in from Reason. However, sometimes it bounces audio faster if you just Quit both programs, then launch Reason and export the Audio as AIF's from Reason when it's not running in ReWire slave mode. That is if you have all of Reason's devices going out Reason's outs 1+2 and aren't using plugins on them in Logic. Then again, you can copy plugins from track to track in Logic's Track Mixer (not in the Audio Environment) by holding CMD+OPT while dragging & dropping. So if you're running plugins on Reason's ReWire inputs, you can put those plugins onto Audio Tracks after Bouncing Reason's audio and putting it onto an Audio track. Make sense??? Sorry for the long-windedness.
The obvious problems would be (if you were connecting Reason's devices directly to multiple outputs on Reason's Hardware Interface rather than running them all through Reason mixers and then out through the Hardware interfaces Outs 1+2) you wouldn't be able to export the individual Reason devices without re-routing their outputs to Reason's main Outputs 1+2 or a Reason mixer.
Taz Sellers
Creative
King of Prussia
Palm Studio will be a Beta Tester for Reason 4
This should be fun. Palm Studio is on the cue for testing our Reason version 4. The screenshot looks cool and looks like this sould be fun and had some nice upgrades.
MOTU Ultra Light (Way that Palm Studio will go for Mobile Recording
For my some of my trips this summer to capture both gutiar and some vocals (for podcasting) I have decided that the way for Palm Studios to go is with the MOTU Ultra Light. One of the very nice features is that the unit can be powered from the Fire Wire 400 no need to worry if your on location and your Mac Book Pro is fully charged you can power the unit from the computer and it has two mic pres with phantom 48v Power. I can use it live and back in the Main Palm Recording Studio I can use it and link it up with the MOTU 828mk2 so I will have 4mic pres and 16 Inputs. I had considered some interfaces that would run Pro Tools but have decided that this will be the right way to go for now. It will also work with all of my Keyboards and my Mackie Control Surface.
Sturdy lightweight construction - ready to travel with you anywhere.
Compact size (8.5" wide x 7" deep) - fits easily into a napsack, briefcase or computer bag and sits perfectly beside any laptop.
Bus powered (requires a non-adapted 6-pin FireWire port on the computer) - no additional power supply necessary for complete recording freedom. Includes power supply for stand-alone operation (without a computer).
Multiple CueMix DSP mixes - create different monitor mixes for the main outs and headphones. Add send/return loops for outboard gear with no latency.
10 inputs with 2 mic preamps and 14 outputs including separate mains - all the I/O you need.
Discrete ins/outs - there's no channel sharing in the UltraLite; the analog I/O, mic inputs, S/PDIF I/O, headphone out and main outs are all handled as separate channels.
Individual 48V phantom power - mix and match condenser and dynamic microphones.
CueMix DSP™ near-zero monitoring system.
Front-panel control - access your entire mix, or any UltraLite setting, directly from the front panel.
Stand-alone operation - program your mixes at the studio and then bring the UltraLite to your gig. No computer needed.
Just plug in any DC power adapter (10-24 volts, tip positive or negative). Need to tweak the mix? Do it on site using the back-lit LCD and front-panel controls.
Two mic pre-amps with switchable 48-volt phantom power and front-panel trim controls.
Three-way pad switch (0, 18 & 36dB) plus 24dB of adjustable trim (in 1dB increments) - provides 60dB gain range.
18dB of extra gain for the six TRS inputs.
Sample-accurate MIDI - connect a MIDI controller and/or sound module with no separate interface needed. MIDI I/O is sample-accurate with supporting software.
Expandable - add additional UltraLite, 828, 828mkII, 896, 896HD or Traveler FireWire interfaces for additional I/O.
Six 24-bit 96kHz analog inputs and eight outputs on balanced/unbalanced 1/4" TRS jacks.
Separate TRS main outs and front-panel headphone jack, each with independent volume control.
Stereo 24-bit 96kHz S/PDIF in/out.
SMPTE sync and striping via any analog input/output.
Includes drivers for Mac & PC, including ASIO, WDM, Wave, GSIF, Core Audio, and Core MIDI. Supports all popular Macintosh and PC audio software.
100% compatible with all host-based effects processing in today's popular audio programs.
Includes AudioDesk full-featured sample-accurate workstation software for Mac with recording, editing, mixing, real-time 32-bit effects processing & sample-accurate sync.
Two FireWire ports - daisy-chain up to four units on a single FireWire bus without a hub.
Plug-and-play operation with your Mac or PC via FireWire.
Separate main outs with independent front panel volume control.
Front panel headphone jack with independent volume control.
Front panel LCD metering for all audio inputs and outpus.
20070619
When Less is More by Joan from her blog on women
When Less is More
How's that for an attention-getting title? We (in American culture) long for less complexity and greater simplicity in our lives!
I can think of so many ways and times when less is more:
Less humidity = more enjoyment of the weather (it's really humid and hot here now)
Less stuff = more freedom from things and clutter
Less house = more time NOT having to clean
Less software = more hard-drive space and faster processing times
Less junk food = more health
Less content = more to think about
Less talk = more to hear
Less noise = more silence
But these are not the things I had in mind when I wrote today's title. Instead, I was thinking of a co-worker's guitar playing.
In addition to what he does for Lighthouse Network, my boss Victor is a flamenco guitar player, performer, and recording artist. Flamenco is that kind of guitar music (forgive the basic definition) that sounds like Spanish classical guitar. I don't know how else to describe it. I'm no flamenco expert (I know nothing about it), but Victor plays really well. I mean really well.
Well, despite his expertise, Victor is taking lessons now from a master guitarist in NYC. And since his first lesson, Victor has been working on bending the fingers of his right hand (the strum hand) from the knuckle joint in his hand, instead of using his wrist and forearm, too. I see him occasionally looking at his hand, working to bend his index finger in isolation from the rest.
(I only noticed because it looks a lot like exercises I had to do in rehab with my left hand after I broke it last year.)
Apparently, this technique allows for better control, less fatigue, and finer sound.
Less movement = more effective guitar playing
Less muscle involvement = more endurance (something important in long playing sessions)
Less motion = more control
Hmmm...less motion, more control. Now there's a soul-care tip if I ever heard one!
In the past when things challenged, frustrated, depressed, or overwhelmed me, I got busy: fixing, doing, solving, mediating, communicating, structuring, planning, trying, cleaning up, working it out.
I moved! I was a woman of motion. If my life then were a guitar, and I a flamenco guitar player, my actions would've looked like some weird spastic gyration of not just fingers, hand and wrist, but forearm, elbow, upper arm, shoulder, neck, back, spine, hips, head, and face.
The problem was, my activity was without control or steadiness. It may have looked good to the casual observer (and it often did), but it was without discipline or quality (as any master would've known and recognized). It was reaction, not pro-action. It was crisis activity, not calm address. I ended up bruised, broken, sore, depressed, confused, and burnt out.
But I'm learning.
I'm learning that “In repentance and rest is [my] salvation, in quietness and trust is [my] strength," (Isaiah 30:15).
Less = more
Taking time for rest, inactivity, reflection, quietness, stillness, sleep, prayer, meditation, quiet reading, a walk in the woods, a cup of tea on the deck where I can watch and learn from the sparrows -- taking time for soul care -- that's a huge lessening of "activity" for me.
Less "activity" = more awareness of God (at least in my heart and life).
And with less impulsive action has come greater peace.
Less really is more.
I just wish I'd known it sooner.
'Til next time,
Joan
How's that for an attention-getting title? We (in American culture) long for less complexity and greater simplicity in our lives!
I can think of so many ways and times when less is more:
Less humidity = more enjoyment of the weather (it's really humid and hot here now)
Less stuff = more freedom from things and clutter
Less house = more time NOT having to clean
Less software = more hard-drive space and faster processing times
Less junk food = more health
Less content = more to think about
Less talk = more to hear
Less noise = more silence
But these are not the things I had in mind when I wrote today's title. Instead, I was thinking of a co-worker's guitar playing.
In addition to what he does for Lighthouse Network, my boss Victor is a flamenco guitar player, performer, and recording artist. Flamenco is that kind of guitar music (forgive the basic definition) that sounds like Spanish classical guitar. I don't know how else to describe it. I'm no flamenco expert (I know nothing about it), but Victor plays really well. I mean really well.
Well, despite his expertise, Victor is taking lessons now from a master guitarist in NYC. And since his first lesson, Victor has been working on bending the fingers of his right hand (the strum hand) from the knuckle joint in his hand, instead of using his wrist and forearm, too. I see him occasionally looking at his hand, working to bend his index finger in isolation from the rest.
(I only noticed because it looks a lot like exercises I had to do in rehab with my left hand after I broke it last year.)
Apparently, this technique allows for better control, less fatigue, and finer sound.
Less movement = more effective guitar playing
Less muscle involvement = more endurance (something important in long playing sessions)
Less motion = more control
Hmmm...less motion, more control. Now there's a soul-care tip if I ever heard one!
In the past when things challenged, frustrated, depressed, or overwhelmed me, I got busy: fixing, doing, solving, mediating, communicating, structuring, planning, trying, cleaning up, working it out.
I moved! I was a woman of motion. If my life then were a guitar, and I a flamenco guitar player, my actions would've looked like some weird spastic gyration of not just fingers, hand and wrist, but forearm, elbow, upper arm, shoulder, neck, back, spine, hips, head, and face.
The problem was, my activity was without control or steadiness. It may have looked good to the casual observer (and it often did), but it was without discipline or quality (as any master would've known and recognized). It was reaction, not pro-action. It was crisis activity, not calm address. I ended up bruised, broken, sore, depressed, confused, and burnt out.
But I'm learning.
I'm learning that “In repentance and rest is [my] salvation, in quietness and trust is [my] strength," (Isaiah 30:15).
Less = more
Taking time for rest, inactivity, reflection, quietness, stillness, sleep, prayer, meditation, quiet reading, a walk in the woods, a cup of tea on the deck where I can watch and learn from the sparrows -- taking time for soul care -- that's a huge lessening of "activity" for me.
Less "activity" = more awareness of God (at least in my heart and life).
And with less impulsive action has come greater peace.
Less really is more.
I just wish I'd known it sooner.
'Til next time,
Joan
20070618
Motu Travler
This is the Mout Travler, I think I might be looking into one of these for my trip out to CA and have one that makes travling easy and location recording easy. Craig at Sweeetwater is recomending this for my trip.
20070614
Reason is on it way to Palm Recording Studio
Well I have been waiting for about three years to decide wheather or not to get Reason. I have had Reason Adapted 2.5 for two years. Even thought I have Stylus RMX I have always like the simplicity of my expernece with Reason. I will be using Reason 3.0 and update for the itel mac.
20070613
Complete Rumba Flamenca (chords, rhythm, etc)
This is a really good job on breaking it down and showing how to do it.
20070607
Mackie Control Universal Digital Recording Console
The Mackie Control Universal arrived today at Palm Recording Studio and is all set up to work with Logic Pro 7.2 Ahhhh it works very well and no more mouse controll. I love it already and have played with it on two songs. The automation works awsome (volume and pan left vs. right) is way cool. Hear are some pics.
20070606
Who Needs Water ??
Subject: Who needs water??
In a number of carefully controlled trials, scientists
have demonstrated that if we drink 1 liter of water
each day, at the end of the year we would have
absorbed more than 1 kilo of Escherichia coli, (E.
coli) bacteria found in feces. In other words, we are
consuming 1 kilo of Poop.
However, we do NOT run that risk when drinking wine
(or rum, whiskey or other liquor) because alcohol has
to go through a purification process of boiling,
filtering and/or fermenting.
Remember: Water = Poop, Wine = Health.
Therefore, it's better to drink wine and talk stupid,than to drink
water and be full of shit.. There is no need to thank me for this
valuable information: I'm doing it as a public service.
Thanks from our friend Joan
In a number of carefully controlled trials, scientists
have demonstrated that if we drink 1 liter of water
each day, at the end of the year we would have
absorbed more than 1 kilo of Escherichia coli, (E.
coli) bacteria found in feces. In other words, we are
consuming 1 kilo of Poop.
However, we do NOT run that risk when drinking wine
(or rum, whiskey or other liquor) because alcohol has
to go through a purification process of boiling,
filtering and/or fermenting.
Remember: Water = Poop, Wine = Health.
Therefore, it's better to drink wine and talk stupid,than to drink
water and be full of shit.. There is no need to thank me for this
valuable information: I'm doing it as a public service.
Thanks from our friend Joan
20070605
Will start to Study Flamenco Guitar with Dennis Koster
Thanks to my good friends at Luthier Music Corp. In NYC I will begin taking lessions with Dennis Koster next week. What a privilage to be accepted into his private student list and take lessions with this master guitarist. I have posted a link if you would like to hear what Dennis can do. I look forward to what I will be learning with Dennis.
20070604
Finger nail Tip by Bryan
Acoustic Guitar Tips
This week's tip was sent to us by Bryan Bradshaw, a regular reader of Guitar Noise and a classical guitar teacher and performer.
Finger Nail Tip
I have read a few of Logan L. Gabriel's articles. There are some really good points being made. practicing/perfect etc.
I've taught classical guitar for a number of years and wanted to offer up a tip that contributes to an often overlooked area of classical guitar study.
Most flamenco guitar players use glue on their nails. By doing so, flamenco guitar players often begin to manipulate the shape of their nails. (By shape, I mean the curve that one sees when one holds the right hand fingers straight at the face, ...staring at the end/tips of the fingers) I have found, from studying with flamenco players, that they tend to have very curved nails. Ultimately, it is this 'curved' shape that allows for fast rest stroke scales and loud free strokes (good tremolo). There is a potential for a harsher sound if one tends to create a 'pointed nail' and strike straight at the string however alot of this harshness can be tempered by filing and how much glue is used etc.
I have been developing my nails to resemble those of a flamenco guitar player and have benefitted a great deal. My rest stroke scales are 16th notes at 180 and I can use tremolo freely, even in improvised situations.
Often, in classical guitar methods, there is a 'naturalism' bias that, although tacit , leads the student to 'work with what they have'. Ultimately, students with flat, boxy or hooked nails are told that their answer lies within 'filing' or repeating excercises to condition the finger to cope etc. Charles Duncan states outright that all nail shapes can be 'fixed' through good filing technique. I dissagree with his position. There is an ideal nail shape for playing classical guitar. It resembles the flamenco guitar player's curved nail. Filing is solely a means of 'tempering some of the timbre' not creating the foundation of the nail shape. Players who choose to work with flat or hooked nails are compromising their potential. (I feel that this curved shape can be obtained by all players, even those with completely flat but, admitedly, it is more complicated...I feel that as long as people understand that there is an ideal shape and aim for this they are better off. I've had so many experienced players as students (up to grade six or more) who are still strungling with fundamental issues resulting from too much resistance from the nail. (flat nails=greater resistance). I feel that part of the classical guitar community's neurosis about using glue etc. to strengthen and curve their nails stems from their dismissal of using a 'pick'. To maintain 'purity' these players resist taking a closer look at the shape of their nails and altering them if they have to.
For me it was easy. I coated the tip of my nail with crazy glue and once the glue had dried I pinched in the sides of my nails. While the sides were pinched in I added more glue to fill in the cracks of the old glue. Now the nail is held in a 'pinched' shape. (Some flamenco guitarists even use a single layer of toilet paper to coat the tip of the nail while adding the glue. The toilet paper acts much the same as fibre glass does to resin) After years of 'pinching your nails in' they will grow pinched and flow straigh off of your finger.
Remember: no glue upon the alive or growing part of the nail. Only put glue on the dead part of your nail: the tip. To remove, use nail polish remover. The tip will thin from using glue but as long as the alive part of your nail isn't smothered you will continue to be growing thick healthy nail to be shaped later at the tip section.
Cheers
Bryan
This week's tip was sent to us by Bryan Bradshaw, a regular reader of Guitar Noise and a classical guitar teacher and performer.
Finger Nail Tip
I have read a few of Logan L. Gabriel's articles. There are some really good points being made. practicing/perfect etc.
I've taught classical guitar for a number of years and wanted to offer up a tip that contributes to an often overlooked area of classical guitar study.
Most flamenco guitar players use glue on their nails. By doing so, flamenco guitar players often begin to manipulate the shape of their nails. (By shape, I mean the curve that one sees when one holds the right hand fingers straight at the face, ...staring at the end/tips of the fingers) I have found, from studying with flamenco players, that they tend to have very curved nails. Ultimately, it is this 'curved' shape that allows for fast rest stroke scales and loud free strokes (good tremolo). There is a potential for a harsher sound if one tends to create a 'pointed nail' and strike straight at the string however alot of this harshness can be tempered by filing and how much glue is used etc.
I have been developing my nails to resemble those of a flamenco guitar player and have benefitted a great deal. My rest stroke scales are 16th notes at 180 and I can use tremolo freely, even in improvised situations.
Often, in classical guitar methods, there is a 'naturalism' bias that, although tacit , leads the student to 'work with what they have'. Ultimately, students with flat, boxy or hooked nails are told that their answer lies within 'filing' or repeating excercises to condition the finger to cope etc. Charles Duncan states outright that all nail shapes can be 'fixed' through good filing technique. I dissagree with his position. There is an ideal nail shape for playing classical guitar. It resembles the flamenco guitar player's curved nail. Filing is solely a means of 'tempering some of the timbre' not creating the foundation of the nail shape. Players who choose to work with flat or hooked nails are compromising their potential. (I feel that this curved shape can be obtained by all players, even those with completely flat but, admitedly, it is more complicated...I feel that as long as people understand that there is an ideal shape and aim for this they are better off. I've had so many experienced players as students (up to grade six or more) who are still strungling with fundamental issues resulting from too much resistance from the nail. (flat nails=greater resistance). I feel that part of the classical guitar community's neurosis about using glue etc. to strengthen and curve their nails stems from their dismissal of using a 'pick'. To maintain 'purity' these players resist taking a closer look at the shape of their nails and altering them if they have to.
For me it was easy. I coated the tip of my nail with crazy glue and once the glue had dried I pinched in the sides of my nails. While the sides were pinched in I added more glue to fill in the cracks of the old glue. Now the nail is held in a 'pinched' shape. (Some flamenco guitarists even use a single layer of toilet paper to coat the tip of the nail while adding the glue. The toilet paper acts much the same as fibre glass does to resin) After years of 'pinching your nails in' they will grow pinched and flow straigh off of your finger.
Remember: no glue upon the alive or growing part of the nail. Only put glue on the dead part of your nail: the tip. To remove, use nail polish remover. The tip will thin from using glue but as long as the alive part of your nail isn't smothered you will continue to be growing thick healthy nail to be shaped later at the tip section.
Cheers
Bryan
20070602
The Mackie is Paid for
Palm Recording Studio will soon be complete with its own Macki Control Universal. I started two years ago building a home studio and now its complete wtih great gear, Mic's, Pre Amps, Computers, Moniortos, Speakers, Guitars, Effects etc. Soon I will put all the gear in its own Custom Made Console for the Studio. O I can wait to see the flying Faders.
Going to See Ottmar and front frow on Aug 25 Harrisburg PA – Sunoco Performance Theater
Kathy and I will hopfully be able to see Ottmar Liebert and Luna Negra on Aug 25 in Harrisburg PA. We got our tickets today and will hopfully be sitting in the front row to see the show. Ottmar Liebert is who I would say renewed my intrest in playing guitar about 6 years ago. When I moved to Mountin View CA in 2001 I headr Ottmar on the radio and wanted to switch from playing steal string acoustic and electric to this very inviting and loving music that Ottmar called nuevo Flamecno. I really dont care what others say obout him he really is a musical genius on many levels as a preformer, studio sound guru, origional thinker, and deffentaly out of the box guy. In my few but brieff encounters he has alwasy been very nice to me and his fans. I cant wait to see him with Steven Duros, (another wonderfull guitar player and keyboard player) and John Gagan, (Bass) should be a wonderfull show.
20070601
2 New Items for Edirol 09 Case and Stand and Stand Adapter
I purchased these two items for Palm Recording Stduio and Light House Network "Life Works". I will be useing these to record pod casts and live recording sessions or talks ie seminars.
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