Bill Merkel

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  1. Not a good angle, but I think this 1744 would look strange if it had any at all.
  2. I used the Wayback to look at the old source just now and I just saw a list of html links, probably generated by some PHP. The thing to do would probably be change where the list comes from to a query on the regular already approved database(s) for the 20 newest topics in there. The more links they can get to their site from other sites, the better it will show up in searches for whatever they're selling. Or it could be he has a botnet and clicking on the links will turn your computer into his zombie... Or it could be that just loading the post in your browser can do something nefarious, especially if that weird picture in it is hosted by him. Or could be he's just goofing around, having fun tricking somebody.
  3. No doubt the twenty topics list was unfiltered, and it was easier to delete it than make it filtered. The smart ones post one legitimate looking message, then come back in a month after it's approved and well down in the list, to edit it into spam.
  4. Very enjoyable pictures and walkthrough of them. Thanks a lot.
  5. Putting together Stratocaster kits might be a good side business for you. Prob. clear a thousand bucks an hour.
  6. Waste of money. Only works in Tartarstan culture.
  7. Then would concerning yourself with anything except the shift work as well as concerning yourself with the note before the shift? If you say it affects the rhythm ("makes the meter wobble") I thought you might be lengthening the note, and as a result just making the shift more quickly. I do believe in trusting your hands, once you've learned what you need to. That will happen automatically someday anyway. There's also opposite advice, concentrate fully on the shift -- for example begin the shift quickly and and just before reaching the note, slow down to hit it precisely (easier said than done).
  8. This is one of the most interesting things about playing, to me. As you found out, the inadequate self-evaluation isn't necessarily from not caring on a conscious level. I think there might be two parts to it. First, it's possible to practice in an out of tune note, funny string crossing, and lots more, so that it sounds fine to you. Second, which might or might not be different, seems to come out of trying to do two things at once -- in this case playing and listening. If somebody else had been giving the recital, you'd have immediately heard what you heard later. Worst case, the student experiences what you did but has no idea how to fix those things! I think addressing these things might be the last big hurdle. Singers probably have the worst of it, with the added huge difference of in your head vs. out in the room. Yet they manage fine. I think this is something a teacher ought to address with a new student immediately if the student has any problems, and I think it's probably possible to address it in a student from the start so that he doesn't have the problem.
  9. If you were practicing this, what would you physically be doing?
  10. On the contrary. My message is don't go stumbling around in the dark...
  11. I found myself mulling over if I got the door open and everything was pitch black, would I have stepped out... I'd probably have just gone back to sleep and played dead when they found me in the morning.
  12. When it says she found a "torch" my first thought was this helpless person somehow knows how to use a torch, and cut herself out.
  13. Hell yeah if you can replace it for less than you can sell it for. Plus the replacement won't be tainted w/ rock star provenance.
  14. What would you like on your coat of arms? A fiddle of course. Maybe a kilt and a sawsall. What else?