I just set up the MOTU 822mkII In Palm Studio in about 2 min and it worked wonderfully I did not look at any manuals yet but it worked great pluged it in turened it on pluged the firewire into the mac and Launced Logic and bang I was up and running. Wow and no jams or frezzes so far. I had lots of Frezzes with Prosouns Gear. and it did not always work. I think the was a good move for Palm Studios to go with MOTU. Got the MOTU 828mkII working in all chanels today with a few trips to Gutiar Center, Few Phone calls to MOTU and all is well. if you use Logic Express 7 see pg 76 in the manual for routing of the audio inputs.
Well we have cleaned house and will be using the Motu 828mk2 interface for the Mac OS. 10.4.7 Running Logic 7 Express, Reason Limited, Stylus Full Version and Liquid Groves, The mic preamp will still be the the Martech MSS-10, mics are Shure KSM 44, 141, SM 58, For Acoustic Guitar will be be using the Fishman Aura and presets for accoustic imaging, for Electric Guitar we are using the Line 6 Pod XT Pro with the classic and vintage add ons. We have an Alesis out board reverb and MXX compressor gate. We still love the Tranzaport for recording. Be looking for some future updates soon. On guitar I will be trying the Hannabak High Tension Flamenco Strings.
Remember the bottle of wine I shipped to you Fed Ex for Saturday delivery. Well I never did make it over to Fed Ex to complain about it not arriving on Saturday.
I used my Visa ATM card to pay for it. I was just online, balancing my checkbook and
there’s a deposit from Fed Ex for the entire amount I paid for that shipment. Now that is what I call a good company. They realized they broke their commitment and made me a very happy customer…..so maybe we shouldn’t write off Fed Ex just yet….
Well after a harsh winter last year and some cracks in my flamenco negra, only the finish not the wood. I decided that the metro case “Humi Case” did not fit the bill it leaqued and made a mess. This however seems to promis no lequige and uses distled water that vapors out of the elment. I also purchased the meter to let me know the temp and humidity of the case and guitar. More detals read below.
The Oasis™ Guitar Humidifier accomplishes the following:
You can see when Oasis™ is ready for refill
Long lasting humidification
Won’t leak due to overfilling
Two levels of leak protection
Stabilized to Never Touch the Body of Your Instrument
You probably already know that your instrument can crack in dry weather. Repairing a cracked top of a fine guitar is both expensive and can alter the sound of your instrument. To solve this problem, guitarists have been using “sound hole” humidifiers since the 1960′s. These humidifiers do have a number of drawbacks. The first is that you cannot see when they need to be refilled. When you do refill them, they can be overfilled and drip inside your expensive instrument. This is because all currently available “sound hole” humidifiers have openings to allow for water evaporation. The job of protecting the instrument against leaks is left to an absorbent medium such as a sponge or floral foam, which can be over saturated with water.
Oasis™ Guitar Humidifier
Oasis™ Guitar Humidifier
ready for refill
Oasis™ has solved these problems by using a completely different approach. The body of Oasis™ is made from a specially designed fabric that allows water vapor (but not water) to pass through it. As the vapor transmission takes place, a vacuum is created and Oasis™ shrinks to compensate for the loss of water. By watching the Oasis™ shrink, you can determine when it is ready for refill. When refilling, you don’t have to guess when it is full. Simply unscrew the black cap, fill with water to the top of the container and replace the cap. Once sealed, the water tight container is your first line of defense against leaks. Humigel™, the super absorbent polymer crystals inside Oasis™, are your second line of defense. Humigel™ captures up to 500 times its weight in water in an absorbent gel matrix.
Like other “sound hole” humidifiers, Oasis™ fits between the strings of your instrument. The materials that touch your strings are relatively soft and will not scratch your strings. A blue polyurethane stabilizing bar fits over the neck of the humidifier. Once positioned in the sound hole, the stabilizing bar lies across the guitar strings to ensure even weight distribution. Oasis™ never touches the body of your instrument.
For shipments to the US or Canada, use the PayPal buttons below. To ship to other countries,
New Wine in from Spain I give it a 92 Abadia-Retuerta Selection Especial Estate Grown Sardon De Duero 2001
This is a nice bottle of wine I pick it up from Joe Cannals in Lawerncevill NJ after not going to NYC due to the rain that was forcaseted. I was Phil and what a nice guy. Ask for him if you stop in. Well we opend up the bottle late in the eav and I just thought lets go for it trying something new. You never know whill this work or not. So I opend up the bottle around 12 mid and smelled the cork, “no cokage” or bad wine smelled good to the nose/ poored up some into a nice crystly glass and it looks nice rich and ruby red with clean legs and the bouquet was nice and then for the tase, Aha you can tell the the wine comes for some dark soil and rich flavor with light frut tase and a nice kiss of the tannens. Wow this just need 1-3 hr to open and my next taste at 12:30 said yes this is a keeper from Spain it nice dry has a hit of the Oak barrel, and just smoth and a 4 demtion type of wine. Great wine for the price. Will by some more tomarw.
The Abadía Retuerta Selección Especial wine comes from a careful selection of the best grapes of all the plots on our estate. Tempranillo’s richness, Merlot’s roundness and Cabernet Sauvignon’s aromatic elegance make it an internationally renowned Great Wine.
This is the wine that best reflects the uniqueness of our terroir and the spirituality of our 12th century Abbey. Aging for eighteen months means that a glass of such a select wine fills our spirits with magic, delicious, evocative dreams.
It was recognized as the World’s Best Red Wine at the International Wine Challenge 2005
I ordered a few of these picks today, I used to use them when I lived out in Mountin View CA and I was playing a Taylor 714ce gutiar, then I switched to Flamenco and have not used picks in a long time. I started again recently with the use of the Fender Strat that I got back after 20years. I also have tried a few times to play some fast lines with a pick on the nylon. These are wood picks and I think produce a better sound then plastic.
It seems to be working I still have to wait some time for my nails to heal I have not used accrilic since may and two of my finges nail beds seem a little fragial my thumb and index, the two main fingers in Flamenco playing. It looks good thought. Will post more on this later.
The Fishman Aura is somthing that I have know about for some time but I had no idea how powerful and usefully of a tool it was until I saw Jesse Cook in Sellersvill PA using it live. When I spoke with him and went to view his gear on stage this was it from the gutiar. No mic’s just the pickup to the Aura and out to the board. Well my ears could not belief it so I picked one up on eBay about 260.00. It came and was way easy to use. I have downloaded about 10 diffent sound images from Fishman and transfers them to the Aura using a Mac with M-Audio midi usb. It works like a charm and is so very easy to edit. I think every guitar player that plays any acoustic guitar needs one of these its a weapon in the box for easy live playing. I will start using mine live, and see ever playing with out it. I will try mixing it into my new MOTU 828mkII sometime this or next week so you can hear it. I really like the nylon guitar with the Neuman M-147 Mics as well as the Soundelux 47 mics. Well this piece of gear is a keeper it even made my 200.00 bolderado pratice guitar sound very good. Check these out this is a great piece of gear. You can view Fishmans web page and Aura info at : http://www.fishman.com Oh and Fishman will even make an sound image of your guitar for 200.00 They also have great customer support. Thanks Fishman.
John Person arm rest they are made in PA and this one is a Joh Pearse Slim Line Acoustic/Classical/Flamenco Guitar Armrest made in Ebony. It is very comfrtable and lifts the arm of the body of the gutiar and inproves tonal responce. I personlay like the way it feels and it seems to me to leave the for arm with more strentgh in that there are no sharp edegest to cut off circulation. Kind of the way a Fender Strat body is shaped. I really like it.
I will start playing on Sat 12:00noon for now and try playing live at Orphas Coffee Shop in Skillman NJ you can reach them at 609-430-2828 I will sit with Larry who goes on early on Sat but will play in the afternoon after 12:00noon. It was fun to talk with Linda today, I have been going there for the last three years and always thought about playing hear well today it came up in converstaiton and she asked me and I said yes. It was nice. I had breakfast wtih my daughter there today and we hade very yummy Pannies??(sp)?? /see you there there is a link above.
The above has some cool pony tail hair bands. There are some pics for diffrent styles. but what ever you use the rubberband is the worst it will rip your had and is not that good for long term or daily use. the ones that are woven or cloth wtih the ruberband part protected by cloth are the lest disruptive or distrutive to your hair. The ones above are the ones with the covered rubber bands you can also pick up a big buch of these at a CVS, or Rite Aid for about 5.00
No longer just a bad-hair-day antidote, the ponytail is a chic and sleek hairstyle for day or evening. Wear it low at the back of the neck for dressy business or evening occasions or keep it in the middle of the head for a casual sporty look.
1. Comb your hair, removing any tangles or snarls. Day-old hair transitions very well into a ponytail, as does de-tangled “bed head.” Add a dollop of styling mousse or pomade to give just-dried hair some weight and texture.
2. Tame any flyaway hair with an anti-frizz serum or hair gel. Style the front of your hair, including any bangs, wisps or tendrils you do not want pulled back. Part your hair where desired.
3. Pull a rubber band around the wrist of your lead or brush hand. Brush hair into your free hand, letting the tail hang parallel to your spine. Collect all the hair you want to include between the L made by your thumb and palm.
4. Set the brush down, then tighten the grip on your gathered hair. Transfer the ponytail into your lead hand. Your palm should face the back of your head, with your fingers and thumb facing down and your elbow facing up. Let your hair form a cord in the tunnel of your grip.
5. Hook the rubber band with your free index finger and stretch it down. Pull your ponytail through the band, keeping a soft grip.
6. Keep the rubber band tense as you insert your other fingers and thumb into the band and twist it around the base of your ponytail. Press your pinky against the point where the rubber band crosses and make a wide circle.
7. Grab your ponytail and pull it through the rubber band. Repeat steps 5 and 6 until the rubber band fits snuggly.
8. Take a small section of the tail and wrap it twice – once for short hair – around the rubber band. Secure it by inserting it into a strap of the band. Use an extra dab of gel or anti-frizz serum on the twisting section for greater control.
If the band sits too low, take half of the ponytail in each hand and pull gently just under the rubber band. The ends should be parallel to your shoulders as you pull.
Make sure that the hair leading into the ponytail lies flat and smooth. Check it using a mirror or simply run your hands along the strands running into the top of the band.
Try not to make your ponytail too tight. Your hair could fall out if you do.
Always use high-quality, covered rubber bands. Plain rubber bands, like those found around newspapers, may damage or break hair.
Tips from eHow Users:
Good ponytails by eHow Friend
If you don’t want those bumps of hair on your head, tilt your head back while you make the ponytail. If you end up with them anyway, comb them to the back closer to the ponytail and hide with a clip.
Two ponytails by
First, comb your hair to remove all the tangles. Make two partitions of hair. Tie two bands, one on both sides your face. Tie the rubber bands above your ears.
In the late 1930s and early 1940s in the countries now called the Republic of Congo (capital Brazzaville) and the Democratic Republic of the Congo (capital Kinshasa), a sonic revolution took place that heralded the political revolution and ousting of colonial occupation in 1960. In the decades approaching independence, musicians created a music uniquely Congolese and fostered a radically different social-consciousness. This national music was not founded solely on Congolese musical forms, however; it “localized” foreign musical genres, especially from Cuba and other Caribbean countries. Yet, the Latin American styles imported into the Congos were not entirely foreign to them. The rumba and son montuno, for example, were founded to varying degrees on musical traditions transported from the Congo region across the Atlantic with the slaves. Twentieth century Congolese interest in musical styles from the Americas and Europe and their subsequent, selective re-indigenization created a new medium of artistic expression. This medium, together with the continual use of active, local music traditions, made audible the emergence of a reconceptualized nation. Embedded within the songs of this new genre, called Rumba Lingala, are blueprints to the construction of a new national identity. The construction of this identity played a central and crucial, albeit indirect, role in the successful struggle to overthrow the colonial government.
This article examines part of the history of Rumba Lingala, a style that emerged in the urban centers of the Belgian Congo and the French Middle Congo. The style’s name is derived from musicians’ passion for and assimilation of various Latin American styles, fascination with “rumba” as a musical, social and cultural complex, and the practice of singing in Lingala. The development of Rumba Lingala proceeded through several successive stages, all of which involved the fusion of diverse local and imported styles. Seen from afar, the greater politico-artistic process involved both inclusion and exclusion; a close listening to the soundscape may reveal the changing degrees of assimilation and rejection of different styles, and allow a theorization of the power differential between the competing voices.
Rumba Lingala is also the product of a complex of encounters and negotiations between music traditions, and of the cycle of repetition, revival and radical departure, an early and documented example of the phenomenon that has come to be named “world music.” For this analysis I shall focus on the period 1948-1960 and examine Rumba Lingala as performed on the main record labels by its primary practitioners. I have chosen 1948 as a starting point, because the first recordings of Congolese music available today were made that year. My analysis ends in 1960 with independence, a sea-change in almost all arenas of life that effected qualitative changes in musical production. 
Contesting colonial authority through song was was not, generally, the musicians’ project, and Rumba Lingala cannot be considered revolutionary music in the same way as, for example, Chimurenga in Rhodesia in the 1970s. In the two decades prior to independence, however, Rumba Lingala, with the efflorescence of radio, record players, and recording technology, altered Congolese ideology by encouraging an expanded understanding of community along national rather than ethnic lines. In doing so against the backdrop of political unrest throughout the colonial world, it energized the minds and bodies of the Kuba, Luba, Kongo, Tetela, etc. and stimulated a feeling of community and shared destiny. Pius Ngandu Nkashama points language’s role in arousing this sentiment:
In so far as these songs are performed almost exclusively in the four principal languages established as national languages ( Lingala of the capital Kinshasa, but also Kiswahili spoken all over the east, Ciluba in the center, and Kikongo in the south) for an immense country with more than 350 different languages, the song should be considered like a privileged space where an historic conscience is affirmed. 
I am interested in analyzing the Rumba Lingala song as a site where social crisis is voiced and collective redemption is sought, in dialogue with the “historical conscience.” Listening with open ears and mind may reveal how Rumba Lingala songs “wrote” the Congolese nation. As an example of musical production at the height of colonial oppression this music may contribute to an analysis of music’s socio-political potential in today’s “post”-colonial world.
* * * * *
Thanks to 78s and the wind-up Edison, the 1930s heard the sounds of Cuban bands like Orquesta Aragon, Septeto Habanero and Septeto Nacional on both sides of the Congo River.  These and other steps became popular in the decades that followed: Dominican merengue, Haitian mering, Martinican beguine, Argentinean tango, Brazilian samba, and the Cuban cha-cha, bolero, and mambo. But the forms of Latin music that cut the widest swathe in the Congos were the Cuban son montuno and rumba, the latter being the rhythm most heavily influenced by African rhythms. 
Rumba Lingala emerged in the 1940s in the cities of Boma and Matadi in the Lower Congo region, and in Léopoldville and Brazzaville in the Stanley Pool region. The signal features of Rumba Lingala were the integration of Latin musical themes and the rise of a new type of dance band that supplanted earlier traditions.  The rumba’s appearance at the 1932 Chicago World Fair and concerts in New York by Machito and his Afrocubans, Orquesta Broadway and Johnny Pacheco made the rumba (its ballroom version, anyway) fashionable and respectable as an exotic music to Europeans. This music reached the Congos on records and in person when the colonial governments hired Cuban bands to entertain the colonial officers. Perhaps it was the African influence in the rumba that made it initially popular among the Congolese. Cuba and the Congos were anything but two “fully formed and mutually exclusive cultural communities” colliding.  The rumba itself sprang from the mixture of the folk musics of the Spanish slavers and the African captives brought to Cuba, seventy percent of whom were from the Congo River basin. 
In the Congos the name “rumba” seems to have been applied to any music with a clavé beat, even if it more closely resembled another rhythm. A reinterpretation of the name thus accompanied the assimilation of the music. Rumba Lingala’s signature rhythm, according to my analysis, is a duple meter with a clavé beat most similar to that of Cuban son (itself similar to 12/8 bell patterns found in many parts of West and Central Africa) . It is articulated by percussion, guitar, horn, or organ. As I hear the clavé, the rest between the grouping of three and the grouping of two gives a feeling of a dragging, holding, then catching up. Variations in the Rumba Lingala rhythmic foundation include the reversing of the 3-2 groupings, and the infusion of a march-like squareness into the clavé. The latter nonetheless preserved the sliding, dragging feeling, which the right foot outlines at the top of the square in couples’ version of Cuban rumba. The bass guitar emphasized the clavé beat and provided the harmonic framework, typically a I-(IV)-V-I progression.
On the earliest recordings named “rumbas,” compositions were played on two guitars and, often, a bottle with a knife. One guitarist would strum the rhythm and harmonic changes, while the other picked out the chords to support the voice that carried the melody. Not long after the Ngoma label began recording in 1948, bands began to fill out. Some of the early line-ups included: three guitars, clarinet, and “jazz,” the name given to the scraper (Manuel d’Oliveira et les San Salvador, 1952); three guitars, bass, maracas and claves (Wendo, 1956); one guitar, bass, two clarinets, trumpet, maracas, “jazz” (Léon Bukasa, 1957). A publicity photo of the Ngoma house band, the Beguen Band, from around 1955 shows the group with banjo, upright bass, trumpet, euphonium, alto and tenor saxes, and drum kit (including snare, two tenors and kick drum, and sock and ride cymbals). A similar photo from around 1959 shows two hollow-bodied, amplified guitars, upright bass, trumpet, alto sax, possibly clarinet, “jazz,” bongos, and maracas. Most of the songs also included a “tam-tam,” most likely a single-headed, cylindrical drum. By the end of the decade, big bands, called “orchestres,” had become the preferred format, using acoustic string bass, multiple electric guitars, conga drums, maracas, scraper, flute or clarinet, saxophones, and trumpet. Beginning in 1952, the bass, which may have been introduced by visiting European musicians,  assumed the role of providing the harmonic foundation, previously the work of the second guitar; the latter took to interacting polyrhythmically with the lead guitar, and strumming as a technique virtually disappeared.
The guitars were tuned D-G-D-G-B-D, called the “Hawaiian” open tuning. Musicians used a capo to change keys, and vibrations of the open strings against it produced a highly desirable buzzing effect.  Listening to early recordings today, the listener would likely note the following characteristics: Most singing is syllabic, with melismatic inflections at the end of lines, many of which use a rhetorical call of “mamá, é.” The harmonies are usually thirds, though Congolese music scholar Kazadi wa Mukuna notes the occasional octave or fifth, used for special effect.  Three types of call and response recur: between singer and chorus; between singer and instrument; and between instruments of different sections. Pieces exhibit a combination of homophony and polyrhythm. Melodic interest is concentrated in a single part with subordinate accompaniment, but rhythmic texture is denser and more differentiated across the various instruments. Horns often punctuate, interspersing with vocal lines, rather than carry the melodic line, except when used antiphonally with the lead singer or chorus. Improvisation generally consists of variations of a motif, often involving a third. (The lead guitarist of African Jazz, Dr. Nico, played in higher registers and often improvised by moving up and down the scale step-wise through arpeggios on a single string or parallel third movement on two. Franco of O.K. Jazz preferred intervals of thirds and sixths on the mid-range strings, and his improvisations, which especially in later years featured variations on a series of repeated riffs, exploited the guitar’s rhythmic capabilities. In his hands it became a voice conversing with other instruments in the percussion section.) The songs typically remain in a single key throughout, and few change tempo.
Rumba Lingala songs were by and large composed with multiple sections. The first was an introduction, in which typically everyone sang and played. The second section was often a sort of solo portion, called the sebene , which in some ways resembled the montuno portion of the Cuban son montuno form.  During the sebene the dancers would try out new steps. Listeners familiar with Congolese music today would hear in early recordings something familiar: throughout songs, especially during the sebene, musicians shout slogans. They often refer to the particular rhythm and dance of the song. As the sebene developed , the special role of the animateur was created, whose job it was to incite the dancers with cries of “Kwassa kwassa!” (from the French “quoi ça?”) “Kiri kiri!”, “Moto!”, “Zekete zekete!”, etc., often designating the appropriate dance. During the early years, shouted slogans were signatures of a sort. For example, Edo Nganga of O.K. Jazz was known to shout “Baila!”, Landot Rossignol, also of O.K. Jazz, “Caramba!”, Joseph Kabasele, the leader of African Jazz, the era’s biggest band, “Chauffez!”, and Henri Bowane “Krr . . . wamoluka landa bango!” (“Krr . . . searchers, follow them!”). 
I hear the adherence to a single tonality, the preference for close harmonies, and the use of call and response as a desire for unity. Expressions of agreement are privileged over those of dissent, those of harmony over those of dissonance, of inclusion over exclusion. The characteristic sweetness of Rumba Lingala, even of Congolese music up to the present, achieved by singing in upper registers and falsettos, the rounded timbre of the amplified guitars, the tight harmonies and the limited improvisation, eschews conflict, encourages agreement. Musicians combined local musical characteristics, such as singing in thirds, polyrhythm and homophony, and foreign elements, such as instrumentation, harmonic progression and singing in Spanish and French, in order to syncretize the dissonant environments and resolve the existential tension of the two colliding world systems. The syncretism of the early Rumba Lingala era signals to me both a nostalgia for the familiarity of a prior time and an excitement for the less knowable present and future. Musicians and dancers sought to make a space where everyone could create, participate and identify. The sebene is the time for musicians to demonstrate their dexterity with the world around them and their role as its co-creators. It is the time to celebrate the new identity in the company of the group, for dancers to show that they belong. The animateur , soon a de rigueur member of Rumba Lingala bands, encouraged group identification by inciting dancers to join in, facilitating the collective process by enthusiastically shouting coded instructions as to how to dance. If later bands can offer clues as to the performance practices during the Rumba Lingala era, the musicians also danced, making even plainer the “steps to belonging.”
Another characteristic of Rumba Lingala is the high degree of repetition in compositions. Short phrases in horn, guitar, percussion and vocal parts are repeated many times. As technological advances enabled longer recordings, repetition increased. This feature lends itself well to dancing, as a stable base is needed to work the choreography and is characteristic of many of the rural music traditions in the Congos. I hear more than the simple transfer of a musical practice, however: Repetition can be a form of hyperbole. Motifs, introduced then repeated with variations, building and amassing significance, express on the surface musical tendencies, and below the surface ideological tendencies. The exaggeration of repetition is what Max Paddison calls a “stylistic device employed to highlight these tendencies and bring them vividly into consciousness.”  As repetition (either within a single song, or between songs of a single style) entices dancers out onto the dance floor, it is a call to the group, for members to swell and solidify its ranks. Heard in the context of the political oppression of the period, it is an effort to wear down the opposition, erode the system, break free of colonialism.
The rubric Rumba Lingala was inclusive, for most musicians of the Rumba Lingala era played variations on several different Latin rhythms, responding to the changing times by incorporating new rhythms and dances into their repertoire. For example, the cha-cha became quite popular towards the end of the 1950s, prompting Wendo to re-record his 1948 hit “Marie-Louise” in 1958 as a cha-cha backed by the Beguen Band.  Collections of recordings from the late 1940s through 1960 show bands performing rumbas, boleros, cha-chas, merengues, polka piqués, biguines  and a variety of others. Some recordings called “rumbas” by the record labels exhibit other rhythms; Kazadi suggests that studios labeled songs “rumbas” because of the word’s commercial appeal.  Each rhythm had its specific use: the cha-cha was the preferred form for treating joyous or celebratory subjects , the merengue for light entertainment, and the bolero for songs of elegy. The “rumba,” however, predominated; it was an all-purpose rhythm, often used for stories of love, as well as social messages.
Early Rumba Lingala works were sometimes covers of Latin classics, such as the son-pregón “El Manisero,” an early staple of the new bands. Bokalanga’s rumba “Mazole Vanga Sanga,” recorded on Loningisa 1953-1954, begins with “Mani-i-i-i-i-i-i-i-i-i-i-i,” a quote from the famous original.  When not in Lingala, the lyrics of early cha-chas, boleros, pachangas and merengues were sung in French, English, or pidgin Spanish, copied from the recordings. Occasionally, singers playfully mixed languages. Even in original compositions singers would often insert Spanish. In an interview with Kazadi wa Mukuna, Franco of Le Tout Puissant O.K. Jazz said, “Well, nobody understood Spanish. Nevertheless, we took a dictionary and searched for words that would sound good and we used them regardless of their true meaning.”  “Maria Antonia,” recorded by Pholidor and Bana Loningisa 1955-56, called a “Rumba Española” by the label, is sung in an untranslatable “Spangala.”  The use of Spanish diminished in the late 1950s and early 1960s.
Comhaire-Sylvain offers an “ear-witness” account of the early days of Rumba Lingala:
“Many recordings were being sold in Kinshasa in 1945. Those with success were dance music. Contrary to Spirituals which were not being sold, American jazz tunes were very much appreciated and often imitated by Congolese bands. Local composers sometimes adapted Lingala words to tunes which were enjoyed the most by the population. South American and Afro-Cuban music were also popular and several Congolese singers adorned their own works with Spanish words.” 
One can infer the importance of linguistic play, as bands both familiarized the other and exoticized the familiar. The song “Ménagère,” recorded by Pauline Lisanga’s ensemble 1953-1954,  shows an astute awareness of the contrasting significance of different rhythms. The title is a term borrowed from French (meaning “housewife”) and used in the Congo to designate a European man’s African mistress. Loningisa called it a “polka piké.” The song begins with a polka piqué, one of the favorite rhythms of the early 1950s in the villes indigènes , played on guitar, accordion, snare with cymbal, saxophone and possibly kazoo. A third of the way into the 2:51 song, everything but the snare and accordion drops out. With a shout of “Tango! Recommended by doctors!” a slow tango ensues.  The word used for “doctors” is polyvalent: Banganga may refer to both European-trained physicians and traditional healers. The tango was at that time in vogue among the Europeans and immatriculés , a class of privileged Congolese with identification cards and the freedom to drink alcohol and stay out after the nine-o’clock curfew.  I read this as the band’s testament that their music heals, and theirs is good for everyone: whether they are the type to visit just one kind of doctor or both, as would many Congolese, especially if the European treatment did not have the desired effect. The dose of tango is small — just about a minute. The polka piqué then resumes. This song shows more clearly than most the phase of musical transition between European- and Latin-oriented sounds. It reveals the playful ambiguity of identity in living between two worlds, African and European. It also speaks to a belief in music’s ability to heal.
The first band in either of the Congos to play Latin American music was Orchestre Congo-Rumba, started in 1934 in Brazzaville by Jean Réal, a French man from Martinique.  Ensembles followed the “Haitian model” of guitar, cornet, sax, patenge (a square frame drum) and two singers.  The first African-led bands to incorporate rumba  into their repertoire were established in 1942: In Léopoldville, Américain, Martinique, Odeon and Victoria Léo; in Brazzaville, Melo-Congo and Victoria Brazza.  Other groups from the mid-1940s include the Congo Bar’s house band Kin Jazz and Jean Lopongo’s Mabokoji Group. These bands, along with Excelsior, are regarded as the first orchestres , or dance bands. Typically these ensembles played for mourning ceremonies, births, baptisms, family parties, marriages, and for popular amusement.  The Congolese music scholar Lonoh Malangi Bokelenge tells us that before the arrival of Europeans to the Congo, dance bands such as these did not exist; local musical organizations were the norm.  The newly structured ensembles sometimes changed their names to reflect their “modernization.” L’Harmonie Kinoise, for instance, became La Joie Kinoise in 1949. La Joie Kinoise, under the leadership of singer, interpreter and composer Joseph Kabasele Tshamala, changed its name again to African Jazz for its first official appearance in Kinshasa in 1953.  Musicians also Latinized their names to demonstrate their “hipness.” François and Francis became “Franco,” Edward “Edo,” Nicolas “Nico,” and Balozi “Baroza.” 
As in their approach to the new urban music genres, instrumentation and their own stage names, musicians were fond of using foreign elements in their bands’ names. Some examples are Orchestre Machina Loca , Beguen Band, San Salvador, Likembes Geantes, Novelty, and African Soul Quintet. The term “jazz” occurred frequently in bands’ names. It did not signify that the band played jazz music; instead, it was a symbol of modernity. Some examples are African Jazz, O.K. Jazz, Kin Jazz, Dynamic Jazz, Vedette Jazz, Negro Jazz, Mysterieux Jazz, Ry-Co Jazz, Mexico Jazz, Congo Jazz, Bantous Jazz, Cercul Jazz, O.D. Jazz, Jazz Vénus, Jazz Beguen, and Jazz Mango. Musicians’ propensity to use “jazz” in their bands’ names and the use of the moniker to designate the scraper, or mkwakwa , may have stemmed from positive impressions of African-American soldiers stationed in Congolese cities.  Certainly, Congolese musicians were aware of American jazz; Louis Armstrong’s visit to Kinshasa, where he gave a public concert, was much fêted. He was transported to the stadium like a chief, in a chair carried by porters and preceded by dancers and musicians.  Why musicians were not drawn to more closely imitate American jazz is a question that was asked even in 1950. Jean Welle, a writer for the periodical Congopresse , wrote:
“I have never heard Congolese musicians play jazz — I mean true jazz, in the manner of the North Americans. I have been told when they listen to records from across the Atlantic they react with indifference. As regards their dancing, they are fond of the sounds from a pick-up [a turntable], that is, romantic recordings, and slow-fox or slow waltz melodies. . . .
“But if the blacks of Harlem surrender to the rolling of nickel-plated drums, to the frenetic dances whose names evoke the ancestral jungle — their brothers in the Congo, when they are not dancing the rumba to the sounds of their dance bands, they would prefer without hesitation the tender voice of Tino Rossi to the trumpet of Louis Armstrong.” 
The contrast between his observation that jazz tunes were met with “indifference” and Comhaire-Sylvain’s that “jazz tunes were very much appreciated” from five years earlier indicates a significant change in taste during the period that Rumba Lingala was coalescing as a style and beginning to be heard widely on radios, as well as a few turntables [Images of Technology]. The writer’s observations of Congolese listening and dancing habits in 1950 are interesting; I interpret the semiotic and aesthetic choices of resignifying the word “jazz,” to designate something non-musical, as a desire to maintain contact with a group of people (Americans, or perhaps black Americans specifically) who the Congolese perceived to be living as they wanted to; as an effort to appropriate the power that the Congolese themselves projected onto them; and a desire to affiliate with, to belong in spirit to, a world non-European, non-colonial. The juxtaposition of local and foreign words in ensembles’ names signaled a looking inward and outward, part of the syncretizing effort to create a “third space” – a “best of both worlds” place they as the forgers of a new nation in a modern world could own.
The appropriation of the label “jazz” parallels that of the label “rumba.” Both appellations issued from a people seething under oppression. Cuban rumba and American jazz were practiced primarily by the sectors of society most marginalized. Race, another face of the cultural Black Atlantic, was a factor in the ruling parties’ economic and political policies in all three regions (the Congos, Cuba, U.S.A.). “Jazz” and “rumba” signified artistic statements of self-esteem and group identification from Afro-Cubans and African-Americans and, as such, were strong symbols from peoples with a shared history. Connecting — indeed identifying — with those across the Atlantic through “rumba” and “jazz” enlarged the Congolese world. Furthermore, “jazz” connoted resistance, virility and power over oppression, as shown by the following excerpt from the poem “Pleure, O Noir Frère Bien-Aimé” (“Weep, O Beloved Black Brother”). The poem was written eight months before independence by Patrice Lumumba, the leader of the pan-Congolese party Mouvement National Congolais and the first prime minister of the independent DRC, who was later assassinated in a CIA-backed plot in February 1961. 
My Dream Mic
The M 147 Tube is a vacuum tube condenser microphone with cardioid characteristic. At the heart of this microphone is the K 47 dual diaphragm capsule, inherited from this model’s now legendary predecessors, the U 47 and the M 49.
Following the capsule is a tube that functions as an impedance converter. The next stage is an efficient, transformerless output circuit, that guarantees an extremely low self-noise level. Note: This innovative combination of current tube technology with the most advanced solid-state circuitry was decisive in awarding the 1997 TEC Award to the related M 149 Tube mic.
The M 147 Tube can feed extremely long microphone cables without affecting the quality of the audio signal. Like all Neumann tube microphones, the M 147 Tube comes with an elegant satin nickel finish.
The microphone is delivered as a complete set in a high-quality aluminum case. Included with the microphone are a microphone cable, a metal swivel mount for a mic stand, and a compact universal power supply for standard mains sockets. Our modern manufacturing methods makes it possible to offer this complete set at a very attractive price.
The famous capsule, together with complimenting tube characteristics, makes the M 147 Tube especially well suited as a vocal mic. In addition, it is a superb spot mic for all types of musical instruments. The extremely low self-noise of its tube circuitry makes the mic perfectly suited for use in modern recording chains, analog and digital.
The M 147 Tube is addressed from the side, where the microphone body has the diamond-shaped Neumann company logo. The black color identifies tube microphones. The capsule is equivalent to the one used in the U 47, and is the deciding factor in determining the sound characteristic. It has a flat frequency response to the upper midrange, and a boost of up to 3 dB above 2 kHz. The headgrille design is a smaller version of the U 47. It protects the capsule effectively against popping and wind noise.
The M147 Tube has a cardioid characteristic, leaning more toward super-cardioid due to its distinctive capsule design. At higher frequencies the pattern becomes more directional. This is very similar to the model after which this new tube microphone was patterned, the U 47 and the successor, the U 47 fet.
When compared to other microphones, the impedance converter used in the M 147 Tube is distinguished by its extremely low self-noise level of only 12 dB-A / 24 dB CCIR weighted.
Similar to the recently introduced M 149 Tube, the new M 147 Tube combines a specifically selected vacuum tube (triode) with modern circuitry. This technique takes full advantage of the special transfer characteristics of the tube and passes the processed audio signal of the capsule to the microphone output, without any coloration or unwanted side effects.
The tube amplifies the capsule’s signal by approximately 10 dB, thus preventing any possible influences from subsequent electronics. The M 147 Tube delivers a high output voltage, and therefore can feed microphone cables up to 300 m length without signal degradation.
The ideal operating conditions (anode current, heater voltage) of the tube are maintained throughout its life expectancy. A sensor lead detects any voltage drop that occurs through the microphone cable and compensates for it in the N 149 A power supply. The tube warms up gradually using inverse current limiting to guarantee long life.
The electronic circuitry of the M 147 Tube mic has a flat frequency response from 20 Hz to well above 20 kHz. Only the attributes of the capsule determine the typical sound characteristics of the microphone.
Both, the capsule and the entire circuitry are shock mounted to prevent any structure-borne noise. Because of its wide operating range, the M 147 Tube can reproduce extremely low frequency signals without distortion.
This implies that the microphone may also be sensitive to unwanted LF interference by structure-borne noise, or wind noise. To avoid possible signal degradation, we offer the EA 1 elastic suspension and the WS 87 windscreen as accessories. During close miking of vocals we recommend using the PS 15 or PS 20a pop screen.
N 149 A Power Supply
The N 149 A universal power supply works with all mains AC voltages from 100 V to 240 V, 50 or 60 Hz. Mains power is connected through a standard IEC 320 mains socket. The only difference between the three available versions of the M 147 Tube set is the power cord supplied. Note: The N 149 V power supply is fully compatible with the M 147 Tube microphone.
It’s hear and I am looking forward to all the possiblites of this new box. It will be great live and in the studio to help make great sounding guitar performances. It came and I have uploaded all the sound imges to the Mac and will await my m-audio midi transport device to up load the sound images. I have also tentivly secured some recording time in Santa Cruz CA for Sept 29. I will be bringing the Martech MSS-10 with me and the Fishman Aura. I hope to also bring my guitar up to Fishman and have some sound images done with the Numan U-57 and Sounddelux mic’s and my shure mics.
Well its been a year since I cut my hair. Last time was in June 2005 and this is what it up to now. Its currly so it looks shorter but when wet or pulled down its longer, well its a way to go and time to keep growing, I hope to have enughf to cover my bald spots kind of like a Donald Trup thing you just comb over the bald spots, not!
Guitar Equipmentl 4vvt. 7/16/06
1. 2004 Montalvo Flamenco Negra w/Pegs # 109720 Palo Escrito back & sides,
Canadian Red Cedar top, Cocobolo Fingerboard & Cocobolo pegs-52+mm nut with B Band UST and A1 Pre Amp
2. 1978/79 Fender Strat S9-09043 w/Kahlor Tream vintage pu & Anderson bridge PU
3. 2004 Yamaha CG171SF Flamenco # Q3P107233 w/ Fishman Acoustic Matrix Natural I Narrow 2.3mm
5. DeSul Pratice Guit.
6. LeTechique Pratice
7. La Patric Classsical
8. Yamah 100
9. Lester DeVoe waiting list Delevery 2008 (on list)
10. Solid Hard Body Classical Experminatal
1. Shure KSM 44
2. Shure KSM 141
3. Sure 2-SM-57
4. Audio Technica DR-VX1
5. Radio Shack 33-3030
1. Martin Sound MSS 10
2. Motu 828 mk II
3. Fishman Aura 4. Line 6 Pod XT Pro 5. Behringer MX 1604A 6. Alesis M1 Active MkII-2x 7. DBX compessor-166XL Computers: 1. Macintosh G4 1.67 15in PowerBook Mac OS 10.4.4 1 Gig RAM Firewire /USB Recording System: 1. Motu 828 Mk II DAW: 1. Frontier Transport Wireless Controller SoftWare: 1.Apple Logic 7 Express 2.Garage Band 3.0 3.Live 4.Cubase LE 5.Stylus RMX 5.A Liquid Groves 6.Reason Adapted 7.PSP Vintage Warmer (Plug In) Amp: 1. Alesis Power Amp Speakers: 1. KRK 5 (2) 2. Samson (2)
3. Kustom 12in (2) Synth 1. CME UF-5 2. 2 M-Audio O2 3. Soft Syth sounds in Logic 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 4g. & iPod G4 60 Gig Photo 9. 2, Kustom12in Pa Cabs 10. Stands (On Stage Stands) A. Music (2) B. Amp (3) C. Mike (6) 11. Korg CA-20 Tuner 12. Metriaa Metronome 13. E-Bow 14. Fishman Aura 15. Audio Technica AT-4040 16. Cables (Monster Cable) 17. Shure Mikes SM 57 (2) & (1) Pop Filter 18. Shure KSM 141 19. Aleis Nano Verb 20. JVC CD player 21 3x Sony Headphones 22. Mundo Beat 23. Intellitouch Tuner 24. Motu gig bag (blue) 25. Roland MA8 Speakers 26. 5 Guitar stands 27. Anvil Rack Case & Brief Case 28. Behringer MX 1604A Mixer 29. 2 Patches for Line 6 Pod XT Pro (Effects and Classic) 30. Mac G4 1.67Hz 15in 31. Logic 7 Express 7..2.2 32. Garage Band 3.0 33. Reason Adapted 2.5 34. Live 4 (Other Gear) Mic cables by Kiwi, Monster Cable Strings: DiAdadario EJ 45C and EJ 44C. For electric Dean Marcley Blue Steal .10′s Hannabach Flamenco High Tension.
The Tiger OS for Mac is full of bells and whistles that can be very handy. But the extra processes running – like Dashboard, for instance – can occupy valuable system resources that you may need elsewhere, especially if your Mac is your main audio computer. Here’s a tip on how to disable Dashboard if it’s robbing system resources during recording sessions:
Open Terminal (which is found under Go, Utilities in the Finder window or the shortcut Shift + Command + U in Finder to open Utilities),… Read More
Disabling Spotlight in Mac OS X Tiger
If yesterday’s Tech Tip got your pulse racing, this tip might send you over the edge. Again using Terminal in Mac OS X Tiger, enter the following commands to disable Spotlight to conserve system resources:
In the Terminal, type this:
$ sudo su
# chmod 0000 /Library/Spotlight
# chmod 0000 /System/Library/Spotlight
# chmod 0000 /System/Library/CoreServices/Search.bundle
# chmod 0000 /System/Library/PreferencePanes/Spotlight.prefPane
# chmod 0000 /System/Library/Services/Spotlight.service… Read More
Proper Shutdown Procedure of FireWire Drives on Mac OS X
According to our friends at Glyph: “Simply shutting down a Mac OS X 10.4.x machine while FireWire drives are still mounted can result in the directory of the drive being corrupted the next time the computer boots. We are not sure what causes this, as it has been reported with many drive brands, but always on Mac OS 10.4.x. At this time, we are recommending that all Mac OS 10.4 users unmount all FireWire drives before they shut down the computer.”
24-Bit, 96kHz Next-Generation FireWire Production! Mark of the Unicorn continues to amaze and delight desktop production creators with innovative designs and rock solid hardware for both Mac and PC users alike. The 828mkII takes FireWire audio production to a whole new level!
The Ins & Outs The 828mkII provides the following simultaneous, independent inputs and outputs: 8 channels of quarter-inch TRS 24-bit 96kHz analog I/O (with individually switchable +4/-10 reference levels on input), 2 mic inputs with preamps and phantom power, 8 channels of 24-bit ADAT optical digital I/O (4 channels at 96kHz), 24-bit 96kHz SPDIF digital I/O, headphone out and stereo main out. All inputs and outputs can be individually addressed from host audio software running on the computer. All inputs can also be individually addressed in the 828mkII’s built-in CueMix DSP mixer. The headphone output and main outs each have independent front-panel volume control. The headphone output can be programmed via software to either mirror another pair of outputs (such as the main outs) or serve as its own independent output pair.
Front Panel Access Two front-panel Neutrik combo (XLR/TRS) jacks with preamps and phantom power allow you to connect a microphone, guitar or any quarter-inch input with front-panel convenience. The XLR jack serves as a low-impedance mic input, and the TRS jack serves as a high-impedance guitar/instrument input. Before A/D conversion, the pre-amplified signal from each front-panel input is routed to one of two rear-panel quarter-inch analog sends, so that you can insert a favorite outboard EQ, compressor, amp or effects processor to the mic/guitar input signal before it is converted to digital form. The resulting output from the outboard gear is fed back into the 828mkII via one of the eight TRS analog inputs on the rear panel, for routing to the computer and/or inclusion in the 828mkII’s built-in monitor mixes.
Built-in CueMix DSP Monitor Mixing The 828mkII provides DSP-driven digital mixing and monitoring for all 20 inputs. You can connect mics, guitars, synths and effects processors, and monitor everything from the 828mkII’s main outs or headphone jack with no separate mixer needed and no latency. The 828mkII supports up to four separate stereo monitor mixes assigned to any four digital or analog output pairs. For example, separate monitor mixes could be set up for the main outs and headphone outs, while two additional stereo buses could be used for send/return loops to reverb units or other outboard gear. Each mix can support all 20 inputs (8 TRS analog, 2 mic, 8 ADAT optical digital and stereo SPDIF digital). A new “CueMix Bounce Back” feature lets you route one of the four CueMix DSP mixes back to the computer. This allows you to record your entire mix, including monitored inputs, back into the computer!
Front Panel Programming You can access your mixes, or any 828mkII setting, directly from the front panel using six rotary encoders and a 2×16 backlit LCD display. Mix settings such as input gain, panning, +4/-10 input level, 6dB boost, stereo pair grouping, mix output assignment and others are quickly accessed, clearly marked and easy to adjust. You can create, save, recall and duplicate eight global presets.
High Resolution The ADAT optical digital inputs and outputs provide 4 channels at 88.2 or 96kHz. 96kHz SPDIF is also provided. As with the original 828, the optical I/O can be switched to the TOSLink format via software.
Features: FireWire connectivity 20 inputs & 22 outputs Support for 96kHz via ADAT (S/MUX) MIDI I/O Front-panel control CueMix DSP – for DSP-driven monitoring Stand-alone operation – Program your mixes in your studio then bring your 828mkII to your gig WITHOUT the need of your computer! Front panel Mic & Guitar inputs 8 TRS analog I/O ADAT lightpipe I/O S/PDIF I/O Sync includes Word Clock, ADAT Sync Inand SMPTE I/O Includes AudioDesk for Mac OS and AudioDesk 2 for Mac OS X
I ordered one of these M Audio USB Midi in/out interfaces from Musicians Friend online and will use it to transfer sound files to the Aura when it comes next week should be fun. I am looking forward to the new possiblies for live and recording sound with the Fishman Aura.
I have found that at times when I play for extend periords of time my arm gets a but numb on the rt side, I have seen a few people play with this on thir guitar and it seems like it would help. I know that is one of the things I like about my Strat vs many other sharp edge electric gutiars so hear I go trying someing new on the Flamenco Negra.