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This months tip deals with micing kick drums.

You wouldn’t believe how many people ask me about micing their kick drums. It leads me to believe people really don’t know how to.

-ON SOAPBOX-

It became so fashionable in the mid-90’s through the early 2000’s to use MIDI or sampled dum sounds in productions that many people now have no idea how to record a “real” drum when the “band” or “live” sound came back in.

-OFF SOAPBOX-

So, first things first. You need to make sure the actual sound source, in this case the drum, sounds as good as it can sound. You might have to “sell” the idea to the drummer that just because his drum set sounds or works a certain way in a live setting, that might, (probably) won’t sound good in the studio.

One of the initial assessments you must make is determining the value of the drum. This isn’t a precise science and if you are not a drummer, this probably won’t be common knowledge. But it is pretty easy to learn. The next time you are in your local music store drooling over the latest TC Electronics piece, work your way over to the drum department. Pay close attention to the difference in the shells between the inexpensive sets (say $1000 or less) and the more expensive sets (those over $1000). If the shell is pure wood, like maple or birch, it typically needs less muffling in the recording process. If the shell is some type of wood or fiberglass wrap, as commonly found on less expensive kits, they normally require more muffling for recording purposes.

Less muffling usually means keeping the front (non-beater) head on. This way, the drum can vibrate fully and resonate completely. The ringing may sound like too much, but most of the ring will be lost in the mix. Again, this is a different mindset than live. In a live situation, you would want to control the ring as much as possible to avoid feedback. If you start recording and the drum is still ringing too much for your taste, start muffling a little bit at a time. A thin blanket laid inside the drum will usually do the trick.

With less expensive drums that need more muffling, take the front head completely off or at least make sure that there is a good size mic hole cut into the head. Muffle with pillows and/or blankets.
There are beater, or back, heads that come pre-muffled. If possible, use a head that is not muffled. These muffled heads work great in a live setting but do not give you as much control in the studio. Add or take away muffling as needed. Keep this in mind, though, although much of the ringing will still be lost in the mix, the tone that an inexpensive shell puts out is not nearly as “sweet” as a better shell. It is usually in your best interest as an engineer to cut as much of this ring without losing all of the tone.

The second aspect of micing a kick drum is the mic itself. Usually, a dynamic mic with the largest diaphragm you can find is the best bet. My all-time favorite mic for kick drums is the EV RE20. This mic is fairly expensive for a dynamic mic, though, and many home studios do not have them in their mic aresenal. The AKG D112 is a good choice. Sennheiser has its E series that is pretty good. If all else fails, you can always use a Shure SM57. You need a couple of these in your studio anyway.

The last part of micing your kick drum is the mic placement. A few inches one way or another can make or break your recording, so experiment, experiment, experiment! As a general rule, the more muffled your drum is the deeper inside the drum you want to place your mic. Start with the mic flush with the front head with the mic facing the beater and keep moving the mic further and further into the drum until you get the perfect balance between tone and the “slap” or “click” of the beater.

Here are some tricks that I have personally used with good results:

- to get more “click” or beater sound

Switch beater from cloth to wood. These can be bought at your local music store.

On top of pillows or blankets, sit a cinder block. It gave me a “punchier” sound.

Use a seperate mic in back of the kick drum by the drummer’s foot facing the beater.
- not enough low end

Set a chair a few feet in front of kick drum and drape a heavy blanket from the drum to the chair. (You may need to use a bit of duct tape to get the blanket to stay on the drum.) Set the mic under the chair facing the kick drum. This tends to focus the low end and let it develop a bit more before it reaches the mic.

Whew! That’s alot of work, huh? Again, don’t be afraid to experiment.

Philip Langlais is the founder of iKnowAudio.com, the site for affordable, practical online audio production training. We specialize in teaching you the art of digital recording, mixing, editing, mastering, how to use compressors, eq’s, reverbs, etc. Visit us at http://www.iknowaudio.com.

Why do you care about stringing your guitar you may ask.
Well the reason is simple. It will make you sound better
because if your guitar is properly strung, you will get longer
natural sustain.

This is something that no fx pedal can reproduce,
clean natural sustain. Of course after you have this
sustain you can play with it all you want with your
fx pedals.

Many guitarist make the same mistake when stringing a
guitar, they don’t wind enough of the string onto the
tuning peg or they wind too much.

Why is this seemingly simple thing so important?
Because the greater the angle between
the nut (the top part of the guitar) and the tuning peg,
the better the sustaining qualities of the string. Simply
put, it makes you sound better. And your strings will not
go out of tune as fast. Of course you can always wind too
much as well, and then the strings will tend to slip out
of tune easier. You want to have just the right amount.

Here is how to string your guitar.

Step 1 - Take all the strings out of the package and lay
them out from the thickest to the thinnest. When you go
to buy strings, always try and get the same gauge, as
changing the gauge could mean problems with intonation,
and may require truss rod adjustments.

Step 2 - Turn the tuning peg until the hole is in line
with the neck.

Step 3 - Starting with the thickest string - The low “e”,
thread the string through the bridge (bottom part of
the guitar). Each guitar has different ways to do this,
but it is usually very easy to see where the strings go.

Step 4 - Next thread the string through the hole in the
tuning peg until it is tight. Now back the string up
about 3 inches so that it loosens.

Step 5 - Grab the loose part of the string with one
hand and with the other start turning the tuning peg.
As you turn the peg, hold the string tightly away from
the guitar to insure that it wraps tightly, with no slack.
This will stop the string from going out of tune as you’re
playing. When the string is getting tight against the
fretboard, You can let go and continue to slowly turn
the peg a little bit more and then top.

Step 6 - Make sure as you turn the peg that the string
is winding downward, and don’t let it flip over itself.
Your goal is tog et about 2 1/2 to 3 full winds on
each string.

Step 7 - Repeat the process with all other strings, but
decrease the amount of slack a little bit each time.

All the best,

Tom Freeland
PlayGuitar.com

This is just one of the hundreds of guitar tips that you will get for free simply by becoming a member of PlayGuitar.com’s Guitar Tips. Go to http://www.playguitar.com/guitartips/ and fill out your info. You will be on your way to becoming a better player.

Studio microphones need to accomplish one thing and one thing
only: to record the best possible voice or musical instrument
sounds. In order to do that, they use advanced technological
methods to filter out unwanted ambient sound, which are present
even in a controlled studio environment. Studio microphones have
to capture the smallest voice subtleties and even the lowest
musical notes. Most studio microphones use the electret model,
in which a thin metal diaphragm receives sound waves and
converts them into electrical current, which can then be
interpreted by various recording devices. The filters used in
the manufacturing of professional studio microphones are well
calibrated, so that any disturbances are stopped before they
reach the recording surface.

No room for compromise

Music recording studios, radio studios and TV station studios -
they all use professional microphones. A UHF broadcast level
microphone is expensive, often with price tags of several
hundred dollars, so it is unlikely you will purchase such
devices unless you intend to use them in one of the
above-mentioned locations. Professional studio microphones need
to have two major characteristics at a level far superior to
regular microphones: flatness and linearity. Both these
attributes mean that the recorded sound is clearer, more
accurate, without noticeable distortion. Music studio
microphones are often multidirectional, capturing sound from a
well controlled ambient. The reason behind this is that the
enclosed recording room allows no outside sounds to enter, so
the only available ones are the ones produced by the singer or
vocalist. A TV studio microphone, on the other hand, has to be
focused on a single major source of sound: the speaker holding
the microphone.

How to select your studio microphone

The variety of offers on the market is huge. And the truth is
that it’s hard to pick a winner in any category. So how can you
select your studio microphone? The first step is to determine
exactly what the microphone is supposed to do: are you going to
record voices, instruments, mixed music? Then you should look
for a similar studio and check out their equipment. It’s almost
like spying on the competition to see what they are using and if
they believe it’s working for them. After you narrowed down the
microphone list to a couple of different models, you can go by
other decisive items, such as price, warranty or accessories. In
the end, the aim is to get the most appropriate microphone for
your studio without paying a fortune for it.

With the now permanent foundation of selling that is EBay—ticket scalping—or more kindly, ticket brokering, has become a mainstay in the secondary market of ticketing. While once a simple side project to make a few bucks, this periodic gamble has become the livelihood of many people.

Sounds good doesn’t it? I’m going to give you the 2 minute inside scoop on how to start selling concert tickets online.

First and foremost there are generally 2 types of sales for concert tickets, a general public sale, available to everyone, and a presale. A presale will take place anywhere from a week to a day before the public sale. To give an example of how this works, let’s say a concert has 1000 tickets to sell, they might have 200 tickets available through a presale and the rest will be available through the public sale. Why go for the 200 instead of the 800? Well for a big show, one that’s going to sell out, there will be thousands of people bidding for the same tickets come the public sale, but the presale is going to be password protected, so only a limited number of people are going to be bidding for these concert tickets.

Now all you need to do is be lucky, and get a good set of tickets. Once you get these tickets you need somewhere to sell them, like EBay for a lot of people. But also, for serious brokers, there are companies out there that will try and sell your concert tickets for you though third-party brokering sites like http://www.TicketSpot.com. These companies let you set your own prices, so you control your profits, and you won’t have to do any work after that, just sit back and wait for the sale.

Jared Lock is the co-founder and webmaster at http://www.ticketspot.com and long time ticket broker.

Everyone of us has music inside. And it is not an abstract statement, but scientifically proved fact. Molecules of DNA “sound” inside us and it is very important if music from outside is in keeping with music inside us.

Scientists pay great attention to researches concerning music’s influence on human beings. Attention to such researches has increased recently and their results are interesting and convincing. For example, after listening classical music cows have increased their yield of milk and mimosa and petunias have grown faster and burst into bloom 2 weeks earlier. 120 breast-feed mothers took part in experiment in Japan. Some women listened classical music, other women listened pop and rock music. In first group the amount of milk increased in 20 per cent, and in second group - reduced twice.

Such researches are the attempt to synthesise science and art (music). But in ancient India science and art were considered to be the parts of single creative power. All knowledge of ancient India one can find in the Vedas (Holy Indian Scripture) and one of four main Vedas Sama-Veda is entirely dedicated to music. According to the Vedas the creating of the world started from the primordial sound “OM”, which appeared while division of the Almighty (Sadashiva) and his creative energy (Adi Shakti). “OM” was the foundation of the universe and the first musical sound.

Human subtle system consists of 7 main chakras (energetic centres) and 3 channels, which rule mental, emotional and physical life activity of person. 7 chakras of our subtle body revolve with certain frequency and form an octave, which consists of 7 tones of proper altitude. Intervals between them should reflect intervals between chakras. These tones were called musical sounds - notes (’svars’ in Indian music). They sound - sa, re, ga, ma, pa, da, ni and they are in keeping with chakras - from first till seventh. 5 notes can change (fall and rise), creating 5 additional sounds (left and right aspects of chakras). Thus, these notes are built-in subtle body and represent the ideal “repository” of information, the repository of those feelings, emotions, wishes and thoughts, which composer or performer has.

While listening music a person receives some influence on subtle level, which later appears on physical body. Same notes can bring destruction or good, it depends on the inner condition of person. For example, anger, aggression, drug intoxication and so on, which have power over the mind of composer or musician, will find the reflection in his music. There are some styles and forms in music which reflect only such bad qualities. Such music may do harm not only the musician, but also a person who listen to it. Clear, inspired people, who have lucid mind will never create such music. They created only folk music with great variety and classical music which has its roots in folk music.

Let’s listen to music, which is in keeping with music inside us.

Article source: Music Inside Us. All The Lyrics is a site which gives you access to huge database of music lyrics, lively music forum and some articles about different aspects of single Music. Go and look here: AllTheLyrics.com.

Do you ever wonder why bands break up? God knows I do.

The thing is that even your own band may be or have been going through the same issues that many of your favorite popular bands have.

Just from personal experience, I can tell you what my personal opinion…

You have to be friends first.

Sounds stupid, but it really isn’t.

Everyone that has tried to get a band going has, at one point or the other, had to try and advertise or solicit to get another member that will “fill the hole”.

Need a new guitar player? Bass player? Drummer? Lead singer? Put an ad in the paper…put an ad up in your local music store…get the word out among your friends…

Unfortunately it just isn’t that simple.

Band dynamics and chemistry have a LOT more to do that just an individual’s musical abilities.

You may get someone that answers your ad that is the “holy grail”…that is, he/she may be everything that you are looking for.

But they might not “jell” with everyone else.

Personal differences will kill a band faster than anything else. PERIOD.

You have to have the same goals…the same interests…and all of that stuff.

I have had the prviledge of being in two different bands where there was no personal friction. Nothing is better than that. NOTHING.

The last one I was in was a dream. Each person knew where each other was coming from. Each one worked off of the strengths of the others.

It was a running joke…I was the “song dictator” that tried to make sure all or our musical aspects were as tight as possible (timing, vocal harmonies, etc.)…the bass player was the guy that humped to get all of the gigs…and the drummer was the one that made sure how many free drinks we got at each gig LOL (don’t take this as a discount on him…he was a HELL of a drummer)!!

All I know is that we all accepted our “roles”…and we had a GREAT time together. Sad to say, my personal obligations (job shift, etc.) had to bring that to a close.

Years later, we all say that if things would be different we would get back together in a heartbeat. In a HEARTBEAT. Because no matter what happened, we HAD FUN!!

Look, there is no point in putting all your time in trying to get a difficult situation to work. Music was meant to be FUN.

Another running joke was that we did not get paid to play…we got paid to haul our gear around from gig to gig. The thing is, that was the absolute TRUTH.

We would get to the gig, get things set up, and just enjoy the crap out of each other while we were waiting to go on.

I have had more belly laughs from those times than almost any other aspect of my life.

While getting out to play was a goal, having a set of friends that make it fun takes out all of the junk that you may encounter.

I hope and dream that I will be able to get to that point again…

Jerry Mathis has 25 years of guitar experience - playing, teaching, recording and performing live. Visit his website http://www.1StopGuitar.com to get all of your guitar tablatures, articles, reviews, accessories and more all in one place!

FOR IMMEDIATE RELEASE

Christmas Is For Grownups Too

Phoenix, Arizona– October 17, 2005–Trumpeter, pianist,
vocalist, and writer Juan Oskar was born and raised in Arizona.
While honing his chops in several Latino bands growing up, his
love for his roots and rock ‘n’ roll grew. Today Oskar has come
around full circle full circle with the new release Christmas
Is For Grownups Too.

Oskar’s Influences include Pizzazz & Latino Los Lobos, Selena,
John Williams, Tito Puente, Santana, Herb Alpert, Cubanismo,
Maynard Ferguson, Julius Wechter, and Leroy Anderson. The
challenge for any listener will be to hear all of those
influences coming through at any time during the run of each
track. In the end, that is what makes this album so much fun. He
also offers some vocals in Spanish, rocks out, throws in some
Ventures licks here and there, and comes up with something so
unique and entertaining that you will be reaching for this CD at
any time of the year. He does this consistently in all 24
tracks. Attention grabbing compositions like “Fur Elise” and
“Decking The Halls in 1966″ are bound to give lovers of pure and
original music a grin from ear to ear.

The challenge for Oskar on this extensive Holiday release was to
take all of his influences and put them together to make it an
enjoyable experience for those who enjoy good music and love
having their hearts filled with the spirit if the Holidays.
Ultimately, he succeeds in covering all the bases on this
pleasing release.

This year around the holidays look no further than Juan Oskar to
put a jingle in your jangle and some ho-ho in your step with
Christmas Is For Grownups Too.

Contact:

Juan Oskar Recordings

7317 North 46th Glendale, AZ 85301

Tel: 623-937-7060

E-Mail: juanoskar@msn.com

Website: www.juanoskar.biz CD Baby Link

Amazon Product Link

PR Created and Distributed By MuzikReviews.com

A New Breed of Aspiring Songwriters Is In The Making. What are the Sacrifices of the Solo Singer Songwriter in Today’s Changing Culture?

David La Motte and Michael Alan are performing musicians and singer songwriters who share their experiences and insights about the hard work required to earning a livelihood in the music business. It seems everyday is filled with frequent questions and emails from aspiring songwriters from all around the country who want to know how to get started as a singer songwriter. The interest of song writing is on an upsurge of popularity as noticed by book sales and courses offered on the subject.

Clarification:

The first question David and Michael would ask when folks approach them with a myriad of questions is “Do you mean getting started as a writer of songs or getting started as a playing musician for a living?” The two activities are very different from each other and the first should come before the second both chronologically and in terms of importance. Serious songwriters believe that a well crafted song, a harmonious blend of music and poetic lyrics, can change the world by influencing the way we think about each other. The emotional input involved with delicately crafting words and music together can help heal a wounded heart and may even help in the healing of others who feel sorrow. This could only be considered a sacred thing and worth pursuing.

However; making money with music is altogether another issue which leads us to consider many other important questions. In today’s music environment only a hand full of songwriters earn a steady livelihood as published songwriters. The streams of income, royalties, which a writer relies on, are an extremely delicate subject of negotiation and are forever under the scrutiny of the music industry.

The Art of Songwriting:

Where do ideas come from? Where does inspiration come from? For time tested songwriters the hard part isn’t having ideas for songs, but keeping track of them long enough to scribble them down into a personal journal and coming back to them later. The process of taking a raw idea which may be a series of words and phrases will require much attention and rewriting to eventually develop the making of a suitable song. There are many ways to approach song writing and just about every songwriter does it a little different.

Warming Up: Free Writes:

In her excellent book “The Artist’s Way,” Julia Cameron notes that runners warm up every day. No serious runner goes out for a run and blows off the warm up because they warmed up yesterday. Writing, she argues, is no different.

Julia recommends that every writer fill three blank pages in a notebook every morning. This is not WRITING, with all the baggage that comes with it. It’s just a warm up drill. The warm up writing does not need to be compelling, well-reasoned or insightful. It doesn’t even have to be in complete sentences. In fact, Julia specifically forbids us to read any of our “morning pages,” as she calls them, for the first few weeks that we’re writing them. The only rule with “morning pages” is that you can’t let the pen stop moving.

One caution, though; don’t be disappointed if you’re not swimming in song ideas at the end of this. Most of you will find that for the rest of the day you’ll be in the creative side of your head, and this is the whole point of the discipline. Remember this is practice, no different than the piano. Keep the daily activity going and see if the seeds take root.

Music as a vocation: Should I quit my day job?

The word “vocation” literally means “calling.” In order to play music as your job, I think you have to feel some sense that this is what you are supposed to do with your life. Otherwise it makes no sense. Long hours and hard work and lots of time away from family and friends balance against….well, very little money.

On the other hand, if you stick with it long enough and work hard and things go well, you may get to see a lot of interesting people and visit some amazing places as part of your work. And if you’re really lucky, you might get to touch upon people’s hearts. It’s incredibly rewarding to get a note from someone telling you that your song intersected their lives at a point when they needed it. Some performers have been able to support themselves with their music, which is a privilege, though not without its sacrifices.

An important point about the “day job” question is that there is no superiority implied by not having one. Some of the best songwriters work construction, wait tables, and wash dishes. There’s no shame in earning a steady paycheck. One traveling musician has a scissors sharpening business. He contracts with local hairdressers in towns where he is booked and sharpens scissors with fancy laser tools in the daytime and he performs in the evenings. It’s been said that Mary Chapin Carpenter didn’t quit her secretarial work in DC until after her first Grammy award.

The most foolish thing that someone can do if they’re trying to get a music career going is to quit their day job too soon. The time to quit is when you’ve got no time to do it, and there’s enough money coming in from your performances to support yourself.

The simple rule is to consider your music your primary job and work at another one in order to support it until the music is eating all of your time and paying you enough to let your second job go. If you quit your day job so you have time to work on music, you’re likely to be short on the money you’ll need to get your career started (You’ll need to make demos, print press kits, shoot and duplicate photos, send out postcards, etc., but this comes later). Good luck with the journey….

David La Motte (author) is a musician, crafted songwriter, and performer in the US. Website: http://www.DavidLaMotte.com

Michael Alan (editor) is a published songwriter, with album & movie credits, who has lived and toured in the US & Europe. Website: http://www.MichaelAlanMusic.com

Remix albums are a hot thing now and Everything But The Girl
were definitely in line to release their own remixes perfectly
compiled on an album. I have to admit I am always first in line
to purchase any remix album that comes out and this release is
definitely worth it the purchase. It contains some awesome
remixes and Everything But The Girl are definitely one of the
artists from the 90’s that wont be forgotten. This being mostly
for their massive remixed club hit of Missing off of the
Amplified Heart album. The remix that became a top ten hit was
remixed by Todd Terry. That remix is not on this Adapt Or Die:
Ten Years Of Remixes but they have a rare unreleased remix by CL
McSpadden. The remix definitely takes me back to 1995 when club
music and house music were exploding everywhere and this remix
was definitely one of the tracks that helped do that.

On this collection I especially love the Knee Deep Remix/Ben
Watt Vocal Re-Edit of Corcovado. I remember hearing this track
in it’s original version off of Red Hot + Rio back 1996 but
never had the pleasure of hearing this excellent remix. It’s got
that hot Latin House vibe going for it and it definitely gets
the groove going.

The DJ Jazzy Jeff Sole Full Remix of Mirrorball has been given
that extra deep downtempo beat to make for a laidback soulful
groove remix. It’s originally a great track and this version has
definitely improved upon how wonderful it is. Another notable
remix is Kevin Yost’s Everything And A Groove Mix of Five
Fathoms. It’s been given the house beat and it’s perfection as
far remixes go. I originally heard this remix on the CD single
back in 2000 and it was definitely refreshing to hear it again
now.

I like the way the producers have broken down the album by
including both very upbeat ones and laidback remixes as well.
It’s says a lot about Everything But The Girl and the type of
music they released. With the added nice touch, the CD ends with
a perfect acoustic remix of Driving.

This release by Everything But The Girl is excellent and it will
satisfy anyone into the EBTG sound or anyone who is into remixes
or electronic/club music.

In my experiences, most independent musicians do very little,
if anything, in the interest of generating advance exposure for
their upcoming new music releases. This is, most likely, due to not having a strong enough budget in most cases.

When I was writing my first music handbook fifteen years ago,
I contacted a Phoenix radio music director for one of my book’s
interviews and asked how important advance promotion was
for new music releases.

She stated that advance and pre-promotion was responsible
for as much as 80% of the success and longevity of both
exposure and sales for music, regardless of genre or whether
the product was a major label or independent release.

That makes a lot of sense, because as much “noise” and
interest that you can generate and get going *before* the
actual release date, the more interest and awareness you can
sustain for it during its actual release phase.

This includes advance radio airplay, advance on-air interviews,
advance press coverage, sampler giveaways, and anything else
that you would do to promote and publicize your music…only
doing it in a PRE-phase.

“Yeah, Kenny, that’s cool, but what about artists who already
have a release out and are way past the pre-promotion phase?”

I’m always glad when you ask me those types of questions, as
they really keep me on my toes, figuratively and literally.

Well, if you are an artist who missed the proverbial pre-
promotion boat, but haven’t begun manufacturing your product,
I would suggest your having as many people listen to your
music on a CD-R, or even better and cheaper, emailing them
MP3 versions of your music in order to get their responses (and, positive ones, hopefully).

Concentrate on getting as many local, regional or national
radio music directors, program directors, television personnel,
or print media editors or writers to give you a simple reaction
to and endorsement for your music.

You are not requesting an interview, nor a music review, so
this ought to go rather quickly, particularly, if you contact
people online. If you focus on getting media people to give
you responses, you do not need to worry with getting their
permission to use their comments, as you would with private
citizens. Media personnel also, generally, present an air of
respect, authority and expertise regarding what they do.

What you want to do with any (positive) media responses is
include them (in small but readable) type as a part of your
credits file that you give to your manufacturer, placing them
(preferably) on the bottom of your front cover, or the back
cover of your CD case.

Allow enough space for 3-5 brief comments, preferably, in the
form of one-liners, such as:

“Hot to Trot is a slamming single.” - Joe Blow, New Times A-Comin’

“Hot to Trot burned my fingers!!” - Shelly Slacker, KTUF-FM

Also, be sure to cite the media source of each comment.

Of course, you say, these are normally included in the little
booklet within the case, don’t you?

Well, keep in mind that, while having comments on the little
booklet inside is good, it doesn’t serve our *current* purpose,
which is to generate and maintain potential music buyers’
interest after their having been caught off guard and attracted
to that great CD cover concept that you took advantage of
after reading my article on it.

Now, if you are too late for the manufacturing phase, although
it may tend to look slightly “tacky,” depending on how you
format it, take your comments and copy them on labels with
adhesive backs that you can cut out and glue somewhere on
your CD case.

Even better, consider using one of those little round, brightly
colored stickers so that it appears more “normal” and appears
as something that much of the general public is accustomed
to already.

Kenny Love is president of MuBiz.com, a multi-service firm
providing radio promotion, media publicity, and a number
of business and career services for musicians. Get more
details at Kenny’s MySpace.com site and at http://www.MuBiz.com.