Yesterday’s Moth

A cloth thread
it was yellow; shinning
bright steel blue
cob webs; recyclability
drips design retractable
and Tuesday received
buckets freely
I see a moth
from yesterday poems on
a blank piece of paper
cloth; thoughtfully pinned
inside made
thoughtfully re-read intimately
exhaust/senescent
tube; in my heart
leering down
it’s sinful weakness

My ears are doing-that
windshield-wiper
thing-slowed-down
wiping out
hands off; buzzards; leftover
ground down white wrapped yarn
the bones of a coat; hung hanger
wreck debris aged
falling of the bone
in waves; falling off the bone
in waves; it just comes
nothing hurts
it’s supposed to

 

Poem By Heather Whitley Gibson

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OFFF Cincinnati 2013:OFFF’s founder, Hector Ayuso – curating the interactive exhibition

English: Offf Logos Deutsch: Offf Logos

English: Offf Logos Deutsch: Offf Logos (Photo credit: Wikipedia)

 

tickets

OFFF Cincinnati is an event for the entire creative community, bringing artists and designers from around the world to share their work and inspiration with you! What differentiates OFFF from other conferences is the passion and diversity of techniques that the presenters share, from analog and handcraft to cutting edge digital processes. Because of last year’s sold-out success, we’ve moved the conference to a bigger venue–theAronoff Center.

Once again, OFFF Cincinnati features some of the world’s biggest names and brightest minds exploring design and technology today, including coders, illustrators, motion graphic designers and more.

Presenters:
Sara Blake (New York)
Jon Burgerman (New York)
Brendan Dawes (Manchester)
Ramon Escolá (Barcelona)
Multitouch Barcelona (Barcelona)
James Paterson (Montreal)
Onur Senturk (Los Angeles)
James Victore (New York)
*Joshua Davis (New York) FRIDAY NIGHT PRESENTATION
*PARTY:  Friday, March 8
OFFF’s founder, Hector Ayuso, is curating the interactive exhibition, ON! Handcrafted Digital Playgrounds, to coincide with the conference. The OFFF Cincinnati celebration continues with the exhibition’s opening eventson Friday, March 8 at the CAC, where you can party with the presenters. The evening starts with a special presentation by OFFF super-star (and ON! exhibition artist) Joshua Davis, followed by a huge night of entertainment with Brooklyn-based DJ /rupture and cool participatory projects by Joshua Davis and Multitouch BarcelonaNOT to be missed.

OFFF1

OFFF Cincinnati 2013 partners: Sterling Brands, AIGA Cincinnati, Deskey Branding, Interbrand, Landor Associates, LPK, P&G Design, Seemless Printing and ArtsWave Coporate Partner: GE Aviation.

 : $50 ($30 students) bit.ly/OFFFCincyTIX

When March 6th, 2013 9:00 AM   through   6:00 PM

 

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How to Be a Guitar Teacher

 

ZZZZ03

1) Determine whether you have the skill level instrumentally to teach others to play the guitar well and properly. Contact a teacher yourself to see if they think you are ready to teach guitar lessons to another.

2) Go to a few guitar lessons and make notes of how they teach. Think about which aspects of the lesson you like and which aspects you disliked. Then integrate the aspects you liked into your own lessons.

3) Begin gathering materials for lessons from music stands, music books, CDs of concerts or examples. Determine where you will have your lessons. Decide if you will rent a space at a music store, teach at a university or out of your garage.

4) Decide on a fair rate according to your years of experience playing and teaching. This rate can vary from city to city. Usually teaching fees range from $10-$200 a lesson, depending on your notoriety and skill.

5) Advertise your services through word of mouth, newspaper classified ads, magazine ads and school bulletin boards. Consider where you advertise and what type of student you want to work with. If you advertise on college boards, you can get anyone from experienced players to hobbyists.

6) Gather a few students and spread your good services through word of mouth. Hold recitals and opportunities for your students to display their talent and your good teaching abilities.

See Original Post At: http://www.ehow.com/how_2085453_be-guitar-teacher.html

 

MIDI Troubleshooting 101

midi

Original Post From http://forum.recordingreview.com

It’s sometimes difficult to started with MIDI. The communication between all the different components can get very confusing. This article is designed to help you through the process of solving your MIDI problems. The basic chain for MIDI is quite simple. The biggest problems occur in the understanding of what each piece of the puzzle does. In this first example, I’m going to assume we want to record a piano part within Cubase using Kontakt2.

#1) We need a way to enter the MIDI data. This sounds very unmusical, but it’s important for me to write in this fashion to make sure you understand what is really happening within your MIDI sequencer. You CAN enter your MIDI data with a mouse within Cubase and most other software based MIDI sequencers. However, most people prefer to have a little more human element in their MIDI productions and therefor using a MIDI controller (piano style keyboard) is the most popular way of entering MIDI data. You can also enter the data with an electronic drum kit, a MIDI guitar pickup, triggers, or using one of the keypad style gadgets out there. It needs to be said that any old keyboard with MIDI out can be used as a MIDI controller. Just to clear up the part, “entering the data” is the same thing as recording a performance or playing an instrument. In our first example, we are recording a piano part, so we will use the standard piano style MIDI controller.

#2) Now we need to hook our MIDI controller to our computer. The old standard was the 16-pin MIDI cable. Most computers do not have a MIDI cable input, but many audio interfaces do. You’ll need to plug this cable into an audio interface that has built in midi. (If you don’t have an audio interface with built in MIDI ports and your MIDI controller leaves no other options, like USB, you’ll need to obtain a MIDI interface. Most modern midi interfaces designed for working with computers use USB to connect to the computer. No special MIDI interface is required.

#3) Now it’s time to make sure the MIDI Sequencer / Recording software is picking up the MIDI signal. Most will have a meter that flashes when MIDI signal is received. So hit a few notes and see if anything lights up. If nothing lights up, there is probably a problem with your MIDI controller, the MIDI interface (if applicable), or the signal is not being routed properly within the recording software. You’ll want to check the manual for your recording software for specifics.

In our example, when we strike a key on our MIDI controller, we see a meter light up on the Cubase transport. This tell us that Cubase is getting the signal. If we do not see the meters on the Cubase transport lighting up, we have a problem. It’s possible that your operating system isn’t receiving the signal. Make sure your drivers are installed for your device(s). Also make sure that you have properly setup and set as the default MIDI device in Control Panels > Sound and Audio Devices if you are using Windows. Also make sure that you have the device setup in your recording software / sequencer as well.

Now we need to create a MIDI track to actually record the MIDI data and we may have to specific which MIDI input we want to use. (This is sometimes handled automatically). When we strike a key on the MIDI controller, a meter should light up on for that MIDI track. We have the data in the sequencer, but we still won’t hear any sound. Cubase (or any sequencer itself) doesn’t necessarily play sound. We need virtual instruments that utilize either synths or samples to actually create the sound based on the MIDI data we send to it.

So, in Cubase, we’ll open up the MIDI instruments section and load Kontakt 2 (our sampler software of choice) and then select a piano sound. Going back to our MIDI track, we need to send the MIDI signal to that piano sound by setting the output of the that MIDI track to Kontakt 2, on the appropriate channel.

READ MORE AT: http://forum.recordingreview.com/f18/midi-troubleshooting-101-a-5208/

How To Get A Record Deal

 

Let’s talk about how to get a record deal. After all this is what you want. Right? You’d probably do anything just to get one. One of the most important things that you should focus on is making your music unique. I’ve seen too many artists try to record a song that is almost identical to a particular song they’ve heard on the radio. When it comes to record deals, it just doesn’t work.

All the record labels want is one thing that is uniquely different in your music. That’s all. You know what? You’re already unique. You are different to every other artist, musician and songwriter on the planet. So what do you do? Bring out that uniqueness in your music. Bring out the you in your music. Let your music reflect you. Your songs should capture your unique personality and individuality.

This is how you capture your listener. They will stop and listen because your music takes them to places they have never been before. It’s not the same regurgitated songs that they have grown accustomed to and are tired of. Record label reps are the first listeners and they’re human. Make them stop and listen. This is how artists get record deals.

There are songs that you listen to for the first time and they immediately grab your attention. There is something in them that do that to you, whether it’s a particular kind of melody, something in the lyrics, the topic or whatever. Here’s what you should do. Write songs with the intention of doing the same thing to your listeners. That’s all! Don’t do exactly what was done in the song you heard. Make it different and unique, but make it create the same impact.

Regurgitation doesn’t get artists record deals. It’s uniqueness. Give a record label a song to knock their socks of in the same way that your favorite songs knocked your socks off. As soon as you do this, you’ll be on your way.

Original Post From http://www.ultimatesongwriting.com

 

“The Gods” – Song By: Ronnie and Heather Whitley Gibson

Here comes Zeus in his zuit suit
Hercules in all his glory
hot and bothered, looks for Venus
history and poetry
standing at the Mayan temple
watch them sacrifice a child
Egyptians prepare a mummy
watch out the gods are on fire

all chant when the sun shines bright
the gods, the moon, the night

looking at the stars and Mars
watching Aztecs playing ball
George is singing my sweet lord

everyone try’s to stand tall
even when their idols fall
what you must do against all odds
is try your best to worship the gods

some people take time to pray
pray to Billy Holiday

some even praise animals
to stop sky and thunder from falling
and after the day is done
some pray to Jim Morrison
everyone try’s to stand tall
even when their idols fall
walk to the door and turn the knob
drop to your knees and worship the gods

muses mount the Trojan horses
pyramids and the white house
Apollo take your pick

shine your tongue and join the mob
drop to your knees and worship the gods

Play The Gods

“Martha My Dear” – (Beatles Cover)

 

I came across this video while browsing threw some Beatles songs, and I thought I just had to share this version of a Beatles classic. This guys style of guitar playing is so clean, and pure that he turns this song into a beautiful guitar piece that he plays like no one else I’ve seen. Enjoy!