TapperMike

How important is it to you? Is it the only one you've ever had? Can you crank out more? Are you shopping for other publishers? No one wants you to throw away good money after bad and have your heart stomped over. And yet we'd love for you to be the success story. If you've written well and you are pleased with it then it could mean you can write more. Personally I'd go with a reputable firm like Taxi or Harry Fox Agency. HFA won't push your song on someone but they will monitor it's distribution as a "co-Publisher" to insure you are getting a return on your copyrighted material.

Another thing you can't control. A Server can mean a computer that has a specific function of storing and sending data to other computers. ..Or it can mean a specific software used for controlled distribution and storage of data. SQL = Structured Query Language A database is a collection of information ...Like a spreadsheet. SQL is a programming language used to add data to the database and retrieve it in a secure fashion. All the data (content) relating this forum is stored in a db (database). If the SQL server is not accessible it means the data is not available.

Upon inspection... Nothing can be done. The CSS/Javascript won't allow links to open in new tabs. You should be able to follow the email to the end of the page and then click reply/forward so you can see what the sender has written. Watch http://tappermike.com/songstuff/ymail.html

Bump. A bunch of wealthy musician industry types come together to talk to each other about stuff they already know.

Son of a Sailor - Jimmy Buffet

If it's yahoo mail I'm assuming it's not an email client issue but an issue with the yahoo portal. Much of that surrounds how html5 friendly your browser is. Browsers are not uniform in their treatment of hypertext markup. Some do well at some aspects and fail miserably at others. The designer who created the webpage goes through a great deal of hair pulling trying to get all the modern conveniences that html5 may have to offer AND the shortcomings of the BROWSER Yahoo does not use flash in developing the UI for it's webmail page. Nor does it use java. If you are using a pc you may wish to consider Google's Chrome as a browser. It's leaner and supports html5 differently then IE or FireFox. Chrome is what I use on all three of my computers.

try opening each section into different tabs.

Was it my fault the forums crashed? Just for giggles I logged into the chat and someone (unknownr to me) joined in. I replied goodbye and closed the window. Then all heck breaks out.

If you change string gauges expect it to affect the intonation, relief and action. If you don't have a locking or graphite nut you may want to invest in some nut sauce for string changes so the strings don't bind up in the nut.

A long time back I wrote an embedded script for "The Palace" (graphical chat) which mimicked human behavior much like the turing project. It was more a social experiment then some highly advanced ai. While advancements have been made in context generators, generally they are limited to "For amusement purposes only" Here's a popular thesis generator http://babel-generator.herokuapp.com/ Uste three keywords and click generate, Hilarity ensues.

Reference / Context?

Updated... Part Two The Melody http://forums.songstuff.com/blog/159/entry-1540-jazz-blues-part-two-the-melody/

Thanks John, Expect more soon.

Bump, The first part in a three part series having to do with Jazz-Blues as an introduction to jazz http://forums.songstuff.com/blog/159/entry-1537-jazz-blues-part-one-the-chord-progression/

Recording Drums without adequate mic's and a mixer can be quite a challenge. If you only have two mics you might want to set one overhead to pick up the sound coming from the top of the kit and a separate mic in front of the kick. It won't be ideal. Tom might have some better suggestions.

Heaven - Bryan Adams

So I watched the vid on the link posted above. That guy really needs a haircut.and I think it's affecting his ability to provide thoughtful insight. Vinyl. Vinyl records were not as high quality as reel to reel. "Albums" were released on reel to reel as well and they were pricey. Few people ever bough reel to reel recordings. Rock and roll was a low fi (like hip hop) thing. Parents with expensive high fidelity consoles did not want Elvis Presley played on them. The kids would usually have low fi 45 record players in their rooms and would by low fi recordings for them. Elvis and other rockers sold lots of 45 singles. His albums didn't sell near a well. As the prices dropped and quality increased for home stereo systems. Teens and college kids would listen to records usually studying or when friends came over. Rarely did people devote themselves to quiet concentrated listening. Listening in a group was more about being a part of the group and having the listening experience present. When ghetto blasters and in car cassette/8tracks also became the rage...The were not anywhere near the quality level of the CD. Not by a mile. Live recordings of famous act such as "Frampton Comes Alive" or "Bob Seger Live Bullet" were intentionally recorded at half speed reel to reel to "keep it sounding raw/real" Peanut Butter manufacturers have no control over how you might enjoy your peanut butter. If you want to lick it from a spoon in your bed that's your business, If you want to add soy seed oil and Gran Marnier for a glazed peanut sauce shrimp creation that's your business. You may find some non edible uses for peanut butter. But for someone like GIF to specify how and where and when you can enjoy their product to satisfy their desires misses the point. Same to with artists claiming that they know what's the best way / time and location to listen to their music. The bottom line isn't "freemium" or "ad revenue" the bottom line is roi (return on investment) for the artist. In the golden age of television viewers weren't required to fork over more cash to see an artist perform on the Ed Sullivan Show. No, Advertisers picked up the cost and the artists were well compensated for their time. When songs are played on the radio...the artist responsible for the song is compensated. When an artists material is played on a jukebox the artist is compensated fairly. Sirius XM artists are compensated fairly. Other subscription based services such as spotify...The artist is robbed blind all the money goes to the wrong place and consumers feel no need to pay more then they have. Artists should be compensated properly for their efforts. This is the most important part of the discussion and the most overlooked part by those in the industry news service. It's also the hardest thing to address to general public listeners.

Answered.

As an addendum ..... I'm starting my own jazz instructional lessons here on songstuff. http://forums.songstuff.com/blog/159/entry-1535-fuzzy-logic-jazz-theorems/ First you get all the generalized theory. Then you get application via working out standardized progressions. With backing tracks in midi. As I don't have rights to songs I can't give specific jazz standards like .. How to play autumn leaves but I can give generic ideas like chord progressions used on autumn leaves for proof of concept.

I have personally not tried his method. I became interested in Conti when checking out his brand of guitars manufactured by peerless. I think they are outstanding guitars even if they are outside of my financial range. I think if you are looking to study lines you will find no better source then Conti. You may find very few sources equally useful and you may find many many more less useful. A word about lines Joe Pass uses the term differently with Joe Pass a "line" is a small insequential fill between melodic verses. They are not "licks" per say as they are not intended to stand on their own. or distract from the melody. For the rest of the world "Lines" means a string of notes that extend as one continuous stream for anywhere between 2 and 32 measures in length.. Playing jazz lines goes back to Satchmo Bob Conti is a gifted jazz player. Someone I'd never heard of before a few short years ago. He's paid all his dues and I think he's an amazing player. Now for all the qualifiers. I studied lines decades ago.I went in with a crappy attitude had no reference or context for them. As soon as I'd mastered one I went on to the next never to repeat or apply them. I'd already taught myself sight reading but I was taking a class in it as my teachers thought my sight reading was substandard. (and they were right) I'd get sheets of note and was required to play them. At first I'd get a week to learn then a day then an hour and then I'd have to read them cold. It was all part of the process of becoming a studio musician. At that time I had very specific views on what made a great solo or a great melody and how to best achieve that end. My hardheadedness slammed the door shut for me. Occasionally I'd come back to the concept of lines vs various other approaches. If you approach the idea in earnest I have no doubt you'll do much better then I did. If you haven't yet...Check out all the videos of Conti's students. It will tell you somethings. Most all are already seasoned jazz players. They can play the chords with the right feel. They can play the melodies well and then the solo comes. They play the solo well. Chances are they've played the songs long before taking the study course. Chances are they've played solo's based either on the original solo or their own soloing skill which they had before taking the course. In short they aren't strangers to playing jazz already. They've had a foot in for decades. Adding a different approach to their jazz arsenal is not as challenging to them as it would be to someone with little to no prior jazz guitar playing experience. Though with that taken into account (players prior proficiency) one still has to marvel at a player who already paid for the dvd set learned what they needed to and coming back to show off what they've learned as non paid endorsers. What also is amazing is when someone in academia a university jazz professor goes into great detail praising Conti's approach. (can't find the youtube video) So there is a great deal of validity to what he teaches and why he teaches the way he does. He makes some very valid points and takes a lot of struggle out of the equation. That's not to say there won't be a few challenges along the way.

When a pickup sits to close to the strings the pickup can become demagnetized over time reducing it's output. Same thing if you rest your guitar facing against a loud speaker. Many 30~50 year old guitar pickups have lost 30% of there output or more. Low action is inspiring. It makes you want to play faster. However it can have a negative impact on the attack portion of the sounds adsr. With speed playing and tremolo bars there is always a trade of for bend range and action. Higher pickups can also cause unwanted compression in your tone. Softer attacks are less articulate, In short you'll have less nuance transferred from your technique to the output jack. This may not seem important if you are a speed metal player but is important if you play any other style where playing dynamics are important for emoting. In regards to string action there is also a portion of the equation often lost,Fret Height Fret Height can also affect clarity of tone. I've got two telecasters with near identical neck specs and identical action. All the measurements are exactly the same except for fret hieght. On my Pinecaster (Modern Player) it has standard jumbo frets. On the Blacktop (vintage modified) it has medium jumbo frets. The medium jumbos are raised higher then the standard jumbos. Even acoustically the differences are abundant. The pinecastet is easier to play.It's easier to play "stretch chords" it's easier to play octaves, it's an easy grip guitar. The blacktop rings out more clearly.most notably the hammer ons and pull offs ring out more clearly. Brighter, punchier more harmonic overtones. Note this is a side by side comparison unplugged. While granted the pinecaster is a pine body and the blacktop is alder which does affect the character of the tone a good deal of what matters in articulation has to do with how the finger greets the string and fret. Overall I can't tolerate high action strings on any instrument. Low to medium low works fine for me with some caveats playing jazz boxes. In regards to speed for speed sake a question that rarely comes up in discussion is..What are you willing to sacrifice for speed? When I was a kid there was a commonly held belief that in order to gain maximum efficiency in speed playing one had to always maintain the lowest possible distance between the fingers and the fretboard. No flying fingers When you lifted your finger off the string it was always only supposed to be as high as to get the finger clear of the string. In order to maximize my playing with this approach I went to lighter gauge strings insanely low action thin necks. Speed and timing were everything, tone, dynamics, articulation were less important. I idolized Al Di Meola. Sheer determination was the answer. I put away all interest in other playing styles or even learning songs or writing songs just to be as fast as humanly possible. It worked...sorta. My friends were enamored by my virtuosity, Players many years my senior would often comment on my blazing technique. But when it came to a jam set everything would always fall apart because the tempos I had mastered were much faster then the tempo's we'd play at. Along the way I also developed some of my own original ideas towards playing. Coming up with tapping ideas I hadn't heard anyone do before. Developing a combination "two finger scale" approach mixed with rakes. The truth was ... just because I hadn't heard or seen these approaches used before my ideas on speed playing techniques didn't mean others hadn't done them before. I just was out of the loop. So drawn into my own world of playing the rest of the world passed me by. It's funny about the whole "flying fingers" thing. I see very fast players like the late Shawn Lane and jazz guys like Robert Conti Conti has huge lift when he scales... And yet he plays as natural as it gets even at faster tempo's then shown. So maybe the path I was on lead to my faster playing or maybe it was my sheer determination which accomplished the level of speed I could play at. In retrospect it's hard to say. Shawn Lane had some interesting things to say about developing speed as a player which run contrary to popularly held beliefs. Including beliefs that I held dear. In retrospect I get what he's saying about the psychological impact. Regarding flatwound strings.... I love them. I don't always play with them as they are considerably more expensive then round wounds. I love them for the tone and the feel on my fingers.

There are more jazz theory courses on the net then doans has pills. I'm hoping to scare readers off with this http://forums.songstuff.com/blog/159/entry-1534-why-you-shouldnt-learn-jazz-guitar/ For those undaunted keep an eye on my blog here. Mike

My last collaboration projects did not go well. I'd write and record the foundation (drums, bass, guitars, keys. melody / harmony) and try to offer some direction on the part of the others involved. The took the stems that I valued the most out of the score and slopped on craptastic leads. Then had the audacity to share it with the greater internet stating that it was all their material. They violated the CC agreement. As a result I'm reluctant to do collab projects with others.

Highly informative and well written, Thanks for that.

I take Scott Grove with a grain of salt. I wish my Jx16 had a mahogany body like my JX17 It would be closer to the "truth" idealism of how a jazz box "should" sound. That doesn't mean I haven't come to appreciate the Jx16 for what it has to offer. Everything effects everything to greater and lesser degrees. For those who have a/b'd the exact same guitar with the exception of body woods it's clear as crystal. I've swapped out pickups in the past. Removing the generic cheaper pups that come with inexpensive guitars and installing duncans and dimarzio's. I've even done the fridge magnet route to boost output from the source.