My Main Stage Live Set Up for the DeVoe with Waves Plug ins

Palm Recoding Studio Update! Trilian and Waves 7 Gold and Dorrough Meters at PRS

Trilian total bass Module by Spectrasonics

This was my first recording using Pro Tools 8 and Trilian

Rasgueo-Rest ahh this is what i’ve needed

Well the “The Rasgueo-Rest” has put my arm and hands in the right position so that my wrist is at the right angle to act as a pendulum and oh does if feel good and the tone that is now coming from my hand, fingers, nails is so much softer and really nice.  I think I am going to try to buy some more of these.    This is a real keeper.  The pics are of the Rasgueo Rest on the DeVoe.

Trilian from Spectrasonics on its way to Palm Recording Studio.

With it’s comprehensive design, Trilian brings many different types of Bass together into one extraordinary-sounding virtual instrument.
Trilian’s next generation STEAM engine technology allows powerful integration with Spectrasonics flagship Omnisphere® synthesizer.
After many years of development, Spectrasonics is proud to release the brand new virtual instrument Trilian®, the long-awaited successor to the award-winning Trilogybass module. Trilian’s massive 34GB core library featuring highly-detailed new Acoustic, Electric and Synth basses – as well as enhanced versions of the classic Trilogy sounds. With a brand new user interface and numerous software innovations, Trilian is the first 64-bit native software based on Spectrasonics next generation STEAM Engine, and is the first virtual instrument to feature full library integration with the flagship Omnisphere synthesizer.
Whether you’re looking to anchor your mixes with a giant vault of amazing Bass patches, or you’re searching for a versatile instrument to create your own unique Bass sounds… there’s no other Bass instrument out there with the tone, variety and flexibility of Trilian -it’s simply in a class by itself.

Mukava is a Armrest for Acoustic Guitars

Mukava is a armrest for acoustic guitars. Get a better sound and feel more comfortable and relax while playing your guitar.

Was able to find one on the other side of the pond, in Europe so I ordered one of these as well today. Will post more after I have tired it out.

Update looks very nice, very easy to install, comfortable as well.

A pic of the Mukava from a top view on the DeVoe.

Looking at the side from the rear view

The Mukava just in my hand.

The “Rasgueo-Rest”

Just ordered one of the last The “Rasgueo-Rest” that are available.  I am very glad that I was able to find one.  After my lesson with Titio Rubio today it was apparent that due to my long arms I would need either a larger guitar or some device that would put my arm back a few inches so I would be able to play with my finger tips striking the string near the rosette.   This looks like it will fit the DeVoe and may be the answer.  Will post more when I receive it and get to try it out

The “Rasgueo-Rest” (patent-pending), is an ergonomically designed, adjustable guitar arm rest that will help you to get the most out of your practice and performance time.

The clean lines and transparent design of this arm rest will not compete with, or detract from the beauty of your Guitar’s fine wood. The light-weight construction material is visually non-obtrusive and durable.

Extended Guitar playing hours can become uncomfortable, and cause possible physical damage to the players arm and posture. Your playing time will be more enjoyable, and can be extended using the comfortable support and rounded contour of the Rasgueo-Rest.

This presents an elegant solution to the discomfort that Guitar players often experience from resting their arm on the sharp top edge of the Acoustic Guitar.

The Rasgueo-Rest is light-weight, and will not make your Guitar top-heavy, or change the balance of the instrument. Total weight is only approximately 10 oz. . . If you keep your instrument on a stand, you can leave the support on indefinitely, with no damage to the wood finish. It is easy to remove.

The Rasgueo-Rest RV-9 protects the Guitar’s finish from wear and perspiration damage, besides saving you wear & tear on your arm!It does not touch any area of the sound board, and so your guitar tone is not effected. You may actually discover that the Guitar tone is clarified, because the sound board is no longer dampened with your arm. Your arm and clothing are kept away from the soundboard, promoting full sonic resonance and projection of sound.

For large and tall players, the Rasgueo-Rest provides the additional height-support needed to play in a comfortable posture.The total surface-support area of the guitar is in effect, expanded, so that you do not need to hunch over to find the right playing position. When you get comfortable, playing is just more productive and fun.Model RV-9: $75.00. This fixed height design gives you an arm rest with slight flex, approx 3 inches above your guitar’s top edge. Size: approximately 7″ x 4″ x 2.5 “. It is designed with a smooth ergonomic curve to cushion and support your fore-arm or upper arm, depending on your playing position and size

IK Grove Maker

Cool app for groves on the iPhone

Kathy & Sonoma Help Out In The Studio

Tears in My Eyes

Sena iPhone Case 3Gs Brown Case

I picked up this case for the iPhone 3Gs because my old case broke.  I like that theres a flip part to keep the screen safe.  Its also dockable.  Fits snugly in the case and does not seem like it will slip out.  Looks like a good case.

Tito Rubio awesome teacher

I took a break from studying Flameco for a bit but today had my first lession with Tito Rubio in Philadelphia PA today and he was just wonderfull. I think Tito is a fantastc teacher and broke the timing and movments down for me. I’m excited studying Flamenco guitar again.

Flamenco guitarist Hipolito (Tito) Rubio was born in 1954 in Monsagro, Spain, a small village in western Salamanca, about thirty miles from the border with Portugal. He remembers seeing his grandfather playing the tamborin (drum) and flute in town processions, as well as playing castanets and dancing the jota, a regional traditional dance. He also remembers hearing brass bands, attending fiestas, and playing with gypsy children when he was small. Rubio’s father was a music aficionado and was the first to put a guitar in his hands, a toy guitar bought in Madrid as the family was on its way to a new life in Australia. In the early 1960s many Spaniards emigrated to Australia, Tito Rubio’s family among them.

Rubio eventually settled in Melbourne, which had a large Spanish population; they remained in that city for almost thirty years, where Rubio started to play guitar, studied flamenco with Manolo Varela and others, and eventually became active as a performer in the city’s Spanish community. As his knowledge grew, he appeared on radio and TV broadcasts in Australia, and became known as something of a boy wonder for his abilities. In the early 1980s Rubio began to accompany singers and dancers, which requires a distinct set of skills, as well as continuing to play solo.

In the mid-1980s he relocated to Spain, where he was exposed to traditional flamenco families for the first time and studied with some of the world¹s greatest guitarists. From 1986 through the early 1990s, Rubio immersed himself in flamenco life, taking every opportunity to observe and participate in classes, performances, and flamenco gatherings in fiestas and bars. One of his principal teachers at this time was Juan Maya Marote, of the famous Marote gypsy clan, and Rubio says that to this day, other guitarists recognize Marote¹s style in his playing, particularly in his strong rasqueados , a particular type of strum-flourish that uses all the fingers. He also studied with David Serva, an American who has been accepted as an authentic player among flamencos in Spain. Rubio accompanied dance classes in flamenco studios in Madrid for Ciro, who is recognized as one of the greatest dancers and teachers in the country.

Tito appeared in the Festival de la Ville in Madrid in 1989 as part of the company of Danza Espanola Contemporanea of Juan Maya Marote and performed in the Royal Palace of Morocco for Prince Felipe of Spain and King Hussein of Morocco. Tito performed with companies from Spain in various cities in Asia and in Europe. He made an extensive tour of the Middle East including the United Arab Emirates, Lebanon and Cairo, Egypt. In 1995 he toured the United States and worked for several months with Maria Benitez’ Teatro Flamenco in New Mexico. It was on this trip that he met his wife and artistic partner, Philadelphia native Anna Arias Rubio.

Rubio falls between two generations of flamencos. The older generation tended to apprentice with a single master and had a broader knowledge of regional flamenco styles in Spain, while their playing style was not flashy. The younger players, says Rubio, are technical virtuosi, sometimes incorporate influences from jazz and blues, frequently learn to read music, and may specialize in just one aspect of flamenco playing: solo performance, accompanying singers, or accompanying dancers. Yet, except for the genuine young masters such as Domingo Ortega (Rubio’s friend and colleague), their repertoire is more generic and limited. Rubio is engaged in an ongoing process of understanding and performing his art. While he says the flamenco life is not possible in the same way in Philadelphia as it was in Spain, he remains dedicated to sharing the beauty of the art with all.

Tito was awarded an Artistic Fellowship for Folk and Traditional Arts by the PA Council for the Arts for 2004, and a Pew Fellowship in the Arts for 2004. Tito was Musician-in-residence at the Philadelphia Folklore Project for 2003-2004. Tito teaches flamenco guitar privately and is also co-musical director, with Roger Mgrdichian of Herencia Arabe and the artisitic director of Flamenco del Encuentro.

Trion 8000 Tube CAD Mic

Berryville NY Cedar Rapids Bar

Kathy and I took a very long drive up to Berryville NY and are eating at the Ceader Rapids Bar. I’ve having a beer from Harpon Pale Ale from Vermont. It’s yummy.

Live Rig Set Up

For playing out I will now be using the Line 6 valve 112 for electric and the Trace Acoustic TA 50 for Nylon String.

Late Starter by Jazmine Reese

BY JASMINE REESE

A wise violinist in the Philadelphia Orchestra taught me for a few short hours during the summer. I remember walking in and saying, “I’ve only been playing five years, so don’t expect much.”  She gave me a curious look.  “Okay, go ahead and tune,” she said.I tuned, my hands shaking and my mind possessed with the premonitions of playing horribly–trembling bow, scratchy sound, and wrong notes.  (I am a perfectionist and even when I do play “okay,” it’s never “wonderful” in my eyes.  Perfectionism is a nasty curse.)I had prepared the Bach Gavotte en Rondeau from the Partita in E Major.  I lifted my bow to the strings and after a few short moments, deep breaths, and more self-battering from the voice in my head, I began to play.Welp, I made it to the end.I smiled.  Not out of happiness, but, you know, the kind of smile you give yourself to say, “Oh well, the deed is done.”  My instructor looked at me. She said, “Jasmine, do you know how many snotty kids walk into this room thinking they are the best violinists in the world?  It’s so refreshing to have you walk in here with such a humble state-of-being, and then also play quite decently.  You played that as well as a girl I once taught at Yale, and she’s been playing since she was three.  I think you can stop using that ‘late starter’ thing as an excuse and just play.”Then I realized that I had in fact been apologizing to all of my instructors since the age of 14 for starting late, as if I were an inconvenience of their time and services.  As if I were a wasted hour in place of a more desirable student.It’s not fair to have all this passion for music pent up inside of me and feel–because of age (and perfectionism, but that’s a different blog)–that I can never be greater.However, it’s been me holding myself back for all these years, excusing myself from greatness because I had been dealt a different lot in life.  It’s okay for you to have played that so badly, Jasmine.  You’re a late starter, remember?But is that an excuse? No, it’s not.  I intend to not treat it as such anymore.  I am tired of being the girl who’s pretty good “especially when she’s only been playing for five years.”  I want to make the necessary sacrifices to be a decent violinist, period.We often do not realize that sometimes we are our own fate, holding ourselves back from the results we want because of low self-esteem and a lack of confidence.I am tired of “late starter” being a crutch.  Yes, I am a late starter.  But that has no bearing on how well or how badly I play.  And I’ll continually try to remind myself of that from now on.This entry is a belated “Thank You” to the Philadelphia Orchestra member who opened my eyes, and has now created a path for me in which I can make or break obstacles without a blindfold over my eyes.

127 AES NYC

Has a great time at the Jacob Javics Center in NYC during the 127 AES Convention. Visited with Waves, Shure, Apogee, Sony, Izotope, and so many more. Picked up a few T shirts and pens as well. Had a great day with my Dad (Father Son Day in NYC) Some pics below.

Line 6 Spider 112 ROCKS

The Line 6 Spider 112 ROCKS ITS THE BEST AMP for under 400.00 that I have ever played. Dealers like Sam Ash and ZZsounds (Guitar Center will match the price) are blowing out these amps for 399.00 as they get ready for the new Line 6 Spider Mk II. I cant get over how clean and tube like (oh it is a real tube amp in there 2 2 12Ax7 and 2 6L6 4 tubes total). Easy to use and if you have the FBV short board you can control the whole amp from a pedal board. Total power is 40 watts but its loud. Looks great too. Hears what Line 6 says “Spider Valve™ is the result of a groundbreaking collaboration between Line 6 and Reinhold Bogner fusing the versatility of modeling with the performance and feel of a world-class tube amplifier. Just as we revolutionized the world of amps through our pioneering modeling technology, Spider Valve shatters the boundaries of tube amp performance by applying that same tonal range to Bogner’s all-tube amp design, boutique component selection and stellar voicing.Spider Valve delivers 12 channels of amp modeling – combined with several flavors of built-in modulation, delay and reverb – driven by an all tube, all Bogner amplification design boasting 6L6 power tubes, 12AX7 preamp tubes and premium Celestion® Vintage 30 speakers.Combining the performance, response and feel of a well crafted tube amp with the inspiring capabilities of amp and effect modeling – Spider Valve delivers the best of both worlds” Line 6 web page www.line6.com
Some pics of the amp bellow. O and that a 1978 Fender Strat with a Kalor Trem and a Roland VG Pickup.  To hear the amp click on to

40W Class AB tube amp through (2) 12AX7 preamp tubes and (2) 6L6 power tubes 1X12″ configuration featuring a Premium Celestion® Vintage 30 speaker 12 dialed-in amp models (channel voices) that deliver a complete tonal range from shimmering clean to insane grind 7 Smart Control FX (up to 3 simultaneous) including Tape Echo, Sweep Echo, Standard Delay (all with Tap Tempo) Chorus/Flanger, Phaser, Tremolo, and Reverb Built-in front panel tuner 36 user programmable channels 300+ presets covering the greatest guitar tones of all time POD® XLR direct out for studio direct tone. Compatible with FBV2™, FBV Express™ and FBV Shortboard™ foot controllers Single and dual 1/4″ speaker output jacks for connection to auxiliary cabinets 1/4″ power amp input jack for POD® amp and effect modelers Weight: 45 lbs Dimensions: 26.75″ L x 21.75″ H x 11.25″ D

New Live Setup for Guitar

I have started to use Logic 9 and with Apogees Duet and two Shure Mics the KSM 141 and 44 I have my complete live set up. Just plug it all and and the dongle for all my Waves plug ins and Im set to go. I can also record with this set up. This is my setup primarily for Nylon String Flamenco with the DeVoe

N.E.D.i Great iPhone App

Great new iPhone app for learning new software on your mac. Watch on the iPhone. I have used N.E.D for two years to learn Pro Tools 7&8, Logic 7&8, and Reason 4.


The above pics are screen shots taken from the iPhone using the actual N.E.D.i app on the iPhone. So far the program is working great. Great Job. If you use NED teaching tutorials get this it really is a great idea.

Thats My King

Hannabach Flamrnco 827 HT Strings

I put a set of Hannabach Flamrnco 827 HT Strings on the DeVoe, I normally play with DAddario EJ 45c’s and Titanium Trebeles. I wanted to try something new so I’m trying these out. Will write more later. The treble strings are a light red color.

Sunsets With U Nature

Time

To take a sneek preview and listin to this song before its released on iTunes you can hear it at Amazon as well as purchase the song there. Hears the link http://www.amazon.com/Time/dp/B002QQOGGK/ref=sr_1_12?ie=UTF8&s=dmusic&qid=1254322387&sr=8-12

Bens Muse

Ben was over yesterday and we played around in the studio and hear’s what we came up with

Record Vocoder vid

The Posied Guitarist

This was a fantastic course that was tought by Jerald Harscher find out about it at The Poised Guitarist The course took about 6 hours and was very informative about how the body moves and what is truly necicary to understand about how were all movers espically guitar players.

The Artist’s Way: A Spiritual Path to Higher Creativity

With the basic principle that creative expression is the natural direction of life, Julia Cameron and Mark Bryan lead you through a comprehensive twelve-week program to recover your creativity from a variety of blocks, including limiting beliefs, fear, self-sabotage, jealousy, guilt, addictions, and other inhibiting forces, replacing them with artistic confidence and productivity.
This book links creativity to spirituality by showing how to connect with the creative energies of the universe, and has, in the four years since its publication, spawned a remarkable number of support groups for artists dedicated to practicing the exercises it contains. –This text refers to an out of print or unavailable edition of this title.

From Library Journal
This program consists of segments from the author’s book of the same name (Tarcher, 1992). She recommends two ongoing activities that will conquer blocks and self-destructive tendencies: morning pages and artist’s dates. Morning pages are three pages of writing, performed daily, about anything at all. This exercise overcomes the writer’s internal censor and makes writing habitual, she claims. The artist’s date is a weekly block of two hours spent observing, experiencing, and sensing. The balance of the recording describes how the artist can overcome human tendencies such as jealousy, fear, and addiction. This abridgment leaves much to be desired. In her introduction, Cameron states that the audio is an interactive abridgment of her 12-week program. There is nothing interactive about it, however. The sound quality is poor, and the content is similar to the many available 12-step programs. In that sense, it is redundant and will appeal to a very small audience. Not recommended.?Joanna M. Burkhardt, Univ. of Rhode Island Coll. of Continuing Ed. Lib.
Copyright 1997 Reed Business Information,

How to Learn the Alexander Technique: A Manual for Students &What Every Musician Needs to Know About the Body: The Practical Application of Body Mapping & the Alexander Technique to Making Music

A primer for students of the Alexander Technique, a well-known method for improving freedom and ease of movement and physical coordination. This book provides the first authoritative account of William Conable’s concept, Body Mapping, the study of how our ideas about our bodies affect our experience and movement. This concept is integrated with a lucid explanation of the Alexander Technique that clarifies and simplifies the task of teaching and learning the Techique.
The practical application of Body Mapping and the Alexander Technique to making music. Body Mapping is the study of how our concepts of our bodies affect our experience and movement. The Alexander Technique is a method for improving freedom and ease of movement and physical coordination. This book is a graphic presentation of ideas drawn from these two disciplines that is of great benefit to music students and teachers and others. –This text refers to an out of print or unavailable edition of this title.
About the Author
Barbara Conable is an Alexander teacher of 23 years experience and a teaching member of the North American Society of Teachers of the Alexander Technique and Alexander Technique International. She has taught at the Ohio State University and the Cincinnati Conservatory and is now President of Andover Educators. She is an active poet and the author and editor of several books about the Alexander Technique.

Fight For It

Fight For It
09/21/2009
Be kind, for everyone you know is facing a great battle.

A true community is something you will have to fight for. You’ll have to fight to get one, and you’ll have to fight to keep it afloat. But you fight for it like you bail out a life raft during a storm at sea. You want this thing to work. You need this thing to work. You can’t ditch it and jump back on the cruise ship. This is the church; this is all you have. Without it, you’ll go down. Or back to prison.

Suddenly all those “one another’s” in Scripture make sense. Love one another. Bear one another’s burdens. Forgive one another. Acts of kindness become deeply meaningful because we know we are at war. Knowing full well that we are all facing battles of our own, we give one another the benefit of the doubt. Leigh isn’t intentionally being distant from me – she’s probably under an assault. That’s why you must know each other’s stories, know how to “read” one another. A word of encouragement can heal a wound; a choice to forgive can destroy a stronghold. You never knew your simple acts were so weighty. Its what we’ve come to call “lifestyle warfare.”

We check in regularly with one another, not out of paranoia (“Do you still like me?”), but in order to watch over each other’s hearts. “How are you doing?” But be careful about what you are looking for from community. For if you bring your every need to it, it will collapse. Community is no substitute for God. I left our annual camping trip absolutely exhausted and disappointed. As we drove home, I realized it was because I was looking to them to validate me, appreciate me, fill this aching void in my heart. Only once in ten days did I take time to be away with God, alone. I was too busy trying to get my needs met through them. Which is why community cannot live without solitude.

(Waking The Dead , 199, 200 )

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