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Guitar Musician e-zine     03/01/2006


In This Issue:


  Don't play what's there, play what's not there.
 

                                                    ~ Miles Davis


Some Humor

  Ouch!

A man and his wife are dining at a table in a plush restaurant. The
husband keeps staring at an old drunken lady swigging her gin as she
sits alone at a nearby table. Finally the wife asks, "Do you know
her?"

"Yes," sighs the husband, "She's my ex-wife. She took to drink right
after we divorced seven years ago, and I hear she hasn't been sober
since."

"My God!" says the wife, "Who would think a person could go on
celebrating that long?"

 


A Lesson For The Learning

Interested in guitar lessons? - Be sure and check out the guitar lessons offered by Andrew Koblick at Amazing Guitar


 
Click here for all products by E-MU.
 

E-MU 1616 Laptop Digital Audio System

Digital recording with astounding sound quality made truly affordable.

By Terrence Fiedler

Interfacing through its CardBus PC Card, which fits in the PCMCIA slot of your laptop, E-MU's 1616 Digital Audio System provides professional audio quality, supreme platform stability, and a healthy host of very useful features. Over 600 hardware-accelerated effects presets, zero-latency hardware mixing and monitoring, 16 ins, 16 outs, headphone monitoring directly from the PCMCIA card, dual studio-grade low-noise preamps, a killer software bundle, and much more make the 1616 the most advanced laptop recording system ever created.

E-MU 1616 Laptop Digital Audio System A bigger window
My first computer-based recording system was USB port-based and worked OK for what it was, but it really wasn't much. The biggest problem was that I could only record two tracks at a time. Cutting stereo tracks with even one other person was out of the question. The USB port was handy, but it just didn't have the bandwidth I needed.

In those dark turn-of-the-century days, there was no alternative laptop solution. Now the 1616 uses the increased bandwidth of the PCMCIA slot�standard equipment on most laptops�to give you up to 16 simultaneous inputs and outputs. The easy-access MicroDock unit connects by cable to the card and features two mic/line/Hi-Z XLR/1/4" ins with soft limiter, 48V phantom power, and level meters; four 1/4" balanced ins; S/PDIF in/out; turntable inputs with hardware RIAA preamp; eight channels of ADAT I/O; plus 32 channels of MIDI I/O. Those ADAT channels can be put to good use easily. With something like a Behringer ADA8000 A/D/A converter, for example, you can add eight mic/line ins and outs for just a little more cash.

Using the included Sonar LE recording software, you can record eight tracks simultaneously. And if you upgrade to pro recording software, you can use all 16 ins and outs at once (provided your laptop's PCMCIA chipset is up to the task). That's amazing power for any laptop-based system, let alone one that's this affordable.

Another great strength of the PCMCIA-based system is platform stability. Recording with it in both studio and live settings, I encountered none of the annoying clicks, pops, dropouts, and crashes that sometimes plagued my old USB-based system. The 1616's ultra-low latency 24/192 ASIO 2.0 and stereo WDM drivers make it compatible with the lion's share of audio and sequencer software applications out there--even the high-end professional stuff.

A clearer view
The most surprising feature of the 1616 is its phenomenal sound quality. The two mic pre's are the same quality as those found in systems costing ten times as much. They're rated at �127dBu EIN--that's an extremely low noise rating. Their soft limiters handle signal overloads by compressing and gently distorting the sound, rather than brutally clipping it. This combination can make a huge difference in recording quality, especially for beginning recordists who haven't mastered the finer points of level setting.

The 1616's A/D and D/A converters operate at 24-bit/192kHz with a pristine 112dB signal-to-noise ratio. The premium 1616M system ups the ante with the same master-grade converters used in the world's most expensive pro studio gear--converters that boast an amazing 120dB SNR! Having this quality of conversion makes the difference between a good demo recording and a release-quality CD. This is definitely the first time such pristine audio has been available for so little outlay.

The rainbow's end
The 1616's treasure trove of features and effects includes PatchMix DSP�on-board digital signal processor that delivers zero-latency mixing and monitoring that totally eliminates the biggest headache of computer recording. E-MU's DSP also gives you over 600 standalone hardware-accelerated effects and over 600 E-MU Power FX VST plug-in effects. These effects run on E-MU's proprietary DSP chips on the CardBus card, leaving your laptop's CPU free to handle more host-based effects and essential recording and playback functions.

The CardBus PC Card also gives you an extremely handy stereo headphone/line out. You don't even have to connect the MicroDock to listen to and mix tracks you've already recorded. You could even use this output to do final mixdowns to an external device. You can control the output level from your software or from the normal headphone volume control on your computer.

The E-MU Production Tools Software Bundle that comes with the 1616 has more than enough apps to keep you busy for a long time. Three recorder/sequencer-type applications include the LE version of Cakewalk's SONAR, the current top dog of digital audio sequencers; Cubase LE, a super-easy audio-oriented recorder that doesn't require much of your laptop; and Ableton Live Lite 4 for E-MU, a powerful sequencer that lets you play fast and loose with loops and BPM.

Additional VST plug-ins, instruments, and effects applications in the Production Tools Software Bundle include Steinberg's Wavelab Lite, a clean and powerful audio editor; IK Multimedia's AmpliTube LE and T-RackS EQ; Minnetonka diskWelder BRONZE for burning DVD audio disks; SFX Machine LT; and E-MU's own Proteus X LE Desktop Sound Module, which is modeled after the incredible Proteus 2000 sound module and gives you 1,024 cutting-edge instrument presets. Whether you're a serious electronic audio geek intent on creating a masterpiece of ambient textures, or a straight-ahead rock-n-roller who just wants to lay down some clean, snappy tracks, there's plenty here to work with.

E-MU has made a real breakthrough with the 1616 and 1616M. It's no exaggeration to say that a skillful engineer working with good musicians could use the 1616M to produce an industry-quality CD ready for professional mastering. Given its incredibly low price, this is nothing short of miraculous.

 

Features & Specs:


E-MU 1616 and 1616M Laptop Digital Audio SystemsE-MU Production Tools Software Bundle
  • 24-bit/192kHz A/D/A converters with 112dB SNR (1616) or 120dB SNR (1616M)
  • 27 hardware-accelerated effects algorithms with over 600 effects presets
  • Zero-latency hardware mixing and monitoring
  • 2 mic/line/Hi-Z XLR/1/4" ins with studio-grade ultra low-noise preamps, soft limiters, 48V phantom power, and level meters
  • 4 � 1/4" balanced inputs
  • Turntable inputs with hardware RIAA preamp and ground lug
  • 8 channels of ADAT in
  • 32 channels of MIDI I/O
  • 6 - 1/4" balanced outputs
  • 24-bit/192kHz S/PDIF in/out
  • 8 channels of ADAT out
  • 3 stereo 1/8" speaker outputs (configurable from stereo to 5.1)
  • 2 stereo headphone/line outputs (1/8" on CardBus and 1/4" with level control on MicroDock)
  • Ultra-low latency 24/192 ASIO 2.0 and Stereo WDM drivers for broad compatibility with popular audio/sequencer software applications
  • Cakewalk Sonar LE
  • Steinberg Cubase LE
  • Ableton Live Lite 4 for E-MU
  • Steinberg Wavelab Lite
  • IK Multimedia AmpliTube LE and T-RackS EQ
  • Minnetonka diskWelder BRONZE
  • SFX Machine LT
  • E-MU Proteus X LE Desktop Sound Module

 

GUITAR Q AND A

 

Choosing the Right Teacher

Kyle Jefferson; France

Q: How do you pick the right guitar teacher? What are some of the things I should ask or that I should tell the teacher?

A: This is a great question. Most people don't give a potential teacher enough information and by asking them a few simple questions you can determine if a teacher is right for you. Here are my recommendations:

1. Find out how long the teacher has been teaching, playing, and what their credentials are. Did they go to music school? Do they play in a band?

2. Find out if the teacher plays a specific style or genre of music exclusively. If he is a Jazz player and you want to learn Metal you may not be a great match.

3. Make sure to let the teacher know what you want to learn, style of music, genre, if you want to focus more on lead guitar, rhythm guitar, or both.

4. Make a list of guitar players that you like to give the teacher an idea of your aspirations.

5. Make a list and possibly a CD of 15 or 20 songs that you would like to learn and bring it to your first lesson. A good teacher will combine the lesson curriculum with songs that you like to make your learning experience fun and exciting.

Be open with your teacher and give him all your information up front and make a decision if he is the right teacher for you.

Hope this helps!

Yours in Music,
John McCarthy
Rock House



 

Troy Van Leeuwen:

Life In The Stone Age

by Lisa Sharken

 

Troy Van Leeuwen:
Life In The Stone Age
by Lisa Sharken

Queens Of The Stone Age was formed in the late 90s by former Kyuss guitarist/singer Josh Homme with former bandmates bassist Nick Oliveri and drummer Alfredo Hernandez. The group quickly rose in popularity through touring, as well as increased exposure through Ozzfest, radio play, and a series of highly requested videos on MTV.

Guitarist/keyboardist Troy Van Leeuwen was enlisted following the 2002 release of Songs For The Deaf, coming onboard for the albums supporting tour. A seasoned rocker, prior to joining QOTSA, Van Leeuwen had been a member of A Perfect Circle, Failure, and Enemy.

We spoke with Van Leeuwen after the band completed its new disc, Lullabies To Paralyze, and began rehearsing for this summers tour. Van Leeuwen talked about his musical background and how he got started on guitar. He also told us about his experience in the studio recording the groups latest disc. Additionally, he provided a bit of info about his live rig. But due to a no-tell policy issued by Homme, theres a limit to just how much gear information Van Leeuwen and members of QOTSA are permitted to divulge, particularly about the types of amps they use. However, we got a good amount of information out of Van Leeuwen about what goes on behind the scenes and his role in the band. Although he couldnt tell us everything about the stage rigs, he admits that when you see the band perform live, you may easily figure out what type of amps they play through. Regardless, Homme prefers not to give up this sensitive information to the press and we were respectful of his wishes. So for those gearheads who are enticed by the mystery, this certainly is incentive to come out and see QOTSA this summer to figure out the secrets for yourselves!

Q: Which artists were you most influenced by when you began playing guitar?

Troy Van Leeuwen: Ive always been into music. My dad played me Chuck Berry, Fats Domino, Jerry Lee Lewis, and all of his record collection before I could remember. Right off the bat, I loved rock and roll, but it took me a while to get the guitar. I was a drummer first. I was attempting to learn how to play drums by listening to Led Zeppelin. Eventually, I figured out it was going to be next to impossible to play like John Bonham. Thats a pretty stock influence because everybody listened to Zeppelin. But theres so much in those records to be learned, and thats how you learn by ear.

Later, I was given a guitar by an uncle and I actually had more of a knack for it. And I would have to say that Jimmy Page was the first influence I had as a guitar player. There were so many textures and different sounds that he got. The riffs that he had were undeniably great. Every one of them. Even the mistakes he made were great. So to me, that was a great first influence. Even on this new Queens Of The Stone Age record, there are mistakes that we kept for character. Thats kind of what my philosophy is. If you can make mistakes, which you inevitably will, you figure out how to land from your fall, and that makes it interesting. Thats where you find the cool stuff and the unique playing. Its when youre trying to do something and you stumble onto something else. Some people call them happy mistakes or happy accidents.

So Page would be my first major influence, and then there were tons of players that I listened to. I always liked David Bowies choice of guitarists. He always had the knack for choosing really great players from Mick Ronson to Adrian Belew and Robert Fripp. I dont even like King Crimson that much, but I thought what they did with Bowie was amazing.

Q: Which players were you trying to emulate as you developed your style and tone?

Troy Van Leeuwen: Of course, Jimmy Page was one. I think its probably next to impossible to achieve the kind of tones that someone like Robert Fripp or Adrian Belew got, but its fun trying! The guitar player from Bauhaus, Daniel Ash, is someone who has really unique tone as well for atmospheric stuff. Ive always liked his playing. I also like Marc Ribot, who played for Tom Waits. I like his tone and the way he plays.

Q: Tell us about the gear you currently use in your live rig and what was used in the studio to record the tracks for Lullabies To Paralyze?

Troy Van Leeuwen: Well, theres a limitation to this answer because we have a sworn-to-secrecy policy, which comes from Josh [Homme, QOTSA guitarist/singer/founder]. Hes been working on his sound for a long time and doesnt want us to give up the information. Theres a bit of mystique because Queens has a unique sound. So I cant tell you what type of amps Im using, but I will say that nearly every track on this record was done with some sort of hollowbody guitar, even bass. And every guitar that I use has a Duncan pickup in it, if it doesnt have the stock pickup. Ive always used the Seymour Duncan Custom and sometimes Ill use a JB. Ive experimented with using different models for the neck and the bridge, but I almost always end up using the Custom. I have an ES-135 that I really love which is maybe five years old. Thats my main one. I helped to design a guitar with Yamaha which may come out at the end of the year. Its a hollowbody with a Bigsby and three P90s. Thats kind of a unique sound, as well, and having the option of three pickups is cool. I also play a Chandler lapsteel with a big mahogany body and little palm trees as fret markers.

As for effects, I can tell you theres nothing too outlandish. I use a Dunlop Crybaby wah, Guyatone Spring Reverb, and Lexicon Vortex, which is the easiest tap delay to use. Analog delay sounds better, but I think that its better for me to tap out a tempo on that thing live. Onstage, Im playing lapsteel guitar and keyboards, so Ive got enough to do. I cant lean down and change my echo setting. I rely on using a switching system. Ive been using the Ground Control GCS for years. Its easier for me to program stuff and hit one button, rather than tap dancing around, and I like the fact that it cuts down noise, too. I also use an MXR Dyna Comp compressor to keep the sustain, and a Maxon Overdrive the one like the old Tube Screamer. Those are great pedals for just a little overdrive and a little boost. Ive used the new Duncan boost pedal as well, and thats a great straight boost. Its like an MXR Micro Amp a linear boost.

Q: How are your guitars set up?

Troy Van Leeuwen: Well, the lapsteel is a little high, for obvious reasons. I use straight open E tuning on it. Theres no strange tuning going on with any of the other guitars either. Its all either straight E or C (standard tuning dropped down), and theres maybe one song thats in D. I like the action on my guitars set kind of high, especially for C because it gets a little floppy. So I like to use heavier strings to compensate. On the Es, Im using a .011-.052. On Cs, Ill use a .012-.056. For some guitars tuned to C, Ill even go .013-.058, depending on the way the guitar plays and the way the tension feels. The sets all have a wound third string. I use Ernie Ball strings on all guitars. On the lapsteel, I just use a heavier gauge because you dont need to bend, and I think a heavier gauge has more matter, so it gives you a better sound.

Q: What type of picks do you prefer?

Troy Van Leeuwen: I have to have a thicker pick with a grip. I use the silver Herco .75mm ones, like Jimmy Page.

Q: What did you learn in the studio while making this album?

Troy Van Leeuwen: We relearned a lot in the studio while working on this record, mainly because we had Billy Gibbons come down and play with us. We were doing this cover of Precious And Grace on the last tour, and for the hell of it, we decided to do it on this record. We thought, why not give Billy a call and see if he would want to come down? And it just so happened that we got hold of him, he came down, and he ended up playing on another song, too, called Burn The Witch. You can tell its undeniably Billy Gibbons from the second he picks up a guitar. It doesnt matter what hes playing through, its in his fingers. And thats something that we just relearned about having good tone. It helps to have good gear, but your fingers dictate your tone. Thats something that took me a while to discover when I was learning guitar, but I figured it out. If you dont have it in your fingers, youre not going to stick out as a player. That was the main thing that he bought to us.

Its cool to see somebody that Hendrix dug, and Billy is such a great character and a funny storyteller. Hes a total class act and has it together as a player. I felt like I was having a true exchange with him. We had a lot of gear with us in the studio and he just came in with a reissue Les Paul and some kind of amp simulator, and that was what he used to get his main tone. We got him to play through some other stuff, too, but that was his main set up. I had always thought Billy was more of a purist, with a guitar through a basic tube amp, and he comes in with an amp simulator! Its cool to keep up with technology because you dont want to get stuck in the past. Its also cool to learn how to work with what you've got. Ill plug straight into a computer and find a tone there, because its about working within the limitations. You cant get great tones out of a computer, but you can make do, and use your fingers to get the most out of it, and thats what counts.

Q: Do you make any effort to use the same equipment onstage as you had used in the studio when recording particular tracks?

Troy Van Leeuwen: Not at all. Whatever works in the studio is what works in the studio. I could plug straight into the board, if thats what it called for. I like to have stuff in the studio thats vintage and I like to keep things as pure as possible. But when it comes to the road, I like to use stuff that works consistently. I dont like stuff thats vintage and cool, but breaks down. So thats why Ill use a switching system and new pedals. I dont care about using vintage pedals over new pedals. The difference live is so minute. First of all, youre in a hall or a theater which changes the sound. Then its going through a mic and through a PA. So live, its not as much under the microscope as in the studio. Unless youre bootlegging the performance, its not going to make that much of a difference to the listener. Your fingers are more important.

Q: Describe your style and tone.

Troy Van Leeuwen: Im someone who likes to serve the song. I can play solos, but Im more into the texture of something that serves the music, whether its an ambient thing, or something thats slapping you in the face. The song dictates what I do as a guitar player. And if for some reason the song doesnt call for a guitar part, Ive been playing a lot of lapsteel lately, so thats another texture to use. Ive put the ego of a guitar player aside to serve the music. I think thats more important.

The tone Queens have is very unforgiving, meaning that you cant hide behind it or use an effect to cover a mistake. Its a very undistorted, thick tone. So Im definitely on my best behavior as a player because any kind of a mistake just sticks out. Of course, there are mistakes, but you have to be ready to make up for them.

Q: How do you and Josh differ as musicians both sonically and technically?

Troy Van Leeuwen: Were both very fluid players, but his fingers definitely have a different tone than mine. Sometimes in a live situation, we like to mess around because we have a great sense of harmonic relevance and we play off each other. I call it dueling banjos, just because its kind of goofy that we both play solos at the same time. Somehow, well end up harmonically doing the same pattern, almost like were having a conversation. Thats fun for both of us because weve never really had that relationship with other guitar players. Ive always either played around the other guy or had to be the guy. So I would describe Josh as a born lead guitar player. But I think he shares the same musical philosophy as me: Play what serves the song.

Q: Which particular track on this album or other recordings youve done stand out as the best examples of your playing?

Troy Van Leeuwen: Thats a good question. I made a record with another band called Enemy which isnt very widely available. But theres a song on there called Locust Sky Zone which I would say defines a lot of my guitar playing. Its something that has strange chords and a very unusual guitar solo that Im not sure how I did. Theres a song on this new Queens record called Long Slow Goodbye which I play lapsteel on, and that one I would say defines me as somebody who serves the song. I think thats essentially where Im at as a musician at this point. Even though its a lapsteel part, it perfectly serves the song.

Q: What are you listening to these days?

Troy Van Leeuwen: Earlier, I was talking about Bauhaus and Daniel Ash, and I always go through this kind of phase of listening to that music, which is something that I listened to in my later teens. Its what people consider goth music, but I consider it just some dark, theatrical, poetic stuff. Bauhaus, Sisters of Mercy, early Cure, early Nick Cave, and things like that, its so not rock, but it rocks! Its some of the best drum-n-bass stuff. Its heavy rhythm and just dark. Thats stuff I always come back to, and Im in that phase right now. Its that and Funkadelic. Ill listen to any punk rock like Fear, Black Flag, Ramones. Those are in my CD player right now.

Q: Have you been listening to any of the new young bands that are emerging?

Troy Van Leeuwen: I do listen to some new stuff. I like Interpol, and theres a band called Division Of Laura Lee that Ive been listening to, and Eighties Matchbox B-Line Disaster, which is a Swedish band thats like Nick Cave. I really like Outkast. I think Outkast is like the Funkadelic of the millennium. The music they put out is so filled with spirit and it kind of seems like they fall into the hip-hop or R&B genre, but theyre really breaking ground, as far as the way they record and the sounds they get. Its unique. With Queens, we pride ourselves on having a unique sound. I think they do, too, and thats the key. Ive also like the new Modest Mouse record. I cant think of anything else off the top of my head.

These days, you fill up an iPod with your favorite stuff, and then put it on shuffle so its random. There could be Johnny Cash right next to Black Flag or Bryan Ferry or Roxy Music. Its just random and its only the good stuff. But what I listen to tends to change at times. Im going to listen to more music when we get out on the road. But while were rehearsing, all Ive been doing is listening to Queens. For the last couple of months, thats just where Ive been. The second I get on the road, the CD collection just expands.

Q: What tips can you offer to other guitarists who are trying to craft their own distinct style and tone?

Troy Van Leeuwen: You have to venture out, find a path, and make mistakes. As youre making mistakes, try to play through them and correct them through your playing. Its not easy, but thats the only way to learn. Playing has to be something that you strive to do, and to never stop learning. Ive been playing for some 20-odd years and I still feel like Ive got stuff to learn. If you ever stop learning, you might as well stop playing. A true player is somebody who always has to be figuring stuff out. Billy Gibbons is a great example. That dude is a bad*** player!

Interview provided by guitar.com


Recommended Listening - A Must For Your Collection!

 
Lenny Breau, Guitar Sounds From Lenny Breau
By Ron Forbes-Roberts
The reissue of Lenny Breau�s 1968 debut album�out of print for more than 30 years�should be cause for celebration among fingerstyle jazz guitar fans. Just 26 years old when RCA released the album, Breau had already developed a remarkable sound that combined bebop, flamenco, Chet Atkins�style picking, the harmonic ideas of pianist Bill Evans, and many of his own innovative techniques into a complex, lyrical, and immediately identifiable style. His improvisational abilities were such that he was able to wring the most astonishing musical possibilities out of even the most harmonically simple tunes. On Elizabeth Cotten�s classic �Freight Train,� one of several tunes on the album he played on his Ram�rez flamenco guitar, Breau runs through a series of variations that range stylistically from jazz to flamenco to fingerstyle bluegrass. His treatment of Bob Dylan�s �Don�t Think Twice� is best described as folk-bebop, and he uses a Framus 12-string to turn �Music to Watch Girls By� (a �60s pop hit for the Bob Crewe Generation) into a haunting and hypnotic improvisation with strong overtones of Eastern music. One highlight among many on the album is Breau�s original tune �Taranta,� a beautiful hybrid of flamenco and modal jazz. The reissue also includes a bonus track, �Call Me,� an excellent outtake from the original RCA sessions and a welcome addition to what is perhaps the most important and influential fingerstyle jazz guitar album ever made. (Wounded Bird, www.woundedbird.com)

 



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