I have always wanted to make a massive MMORPG site or script and now I have just decided to do it. I was thinking something similar to runscape.com or habbo.com but those are very well developed and java based scripts I think. Well they are not scripts and those would take years to develop I guess. So maybe a web based script, like a mafia game or a casino game? Where it may be free at first and there could be a payment upgrade.

So, I have not yet decided on a definite theme/idea, but I would really like to partner up with somebody or a group of people to do this. The deal would be that neither of us invest anything (except small amounts maybe for advertising or other small things which I will probably pay for) and it will be non profit for a while until we start earning from it. So, unfortunately I will no be paying you, but everything we earn from the site will be split 50/50 between us.

I have quite a big range of knowledge in HTMl and website design and in SEO, but not too much in PHP or MySQL.. I mean, I can sometimes understand it, but not create it.

I need somebody who would like to work for free (but keep the profits later) and who has a large amount of knowledge in PHP & MySQL or maybe Java if you want to make a really nice 3D game, or any game based languages.

If you have any questions or would maybe want to join up with me, please ask them here. I really think that if we try hard and think or a great idea, this can be very successful.

Thanks.

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These are unique and copyscape passed.
There is no grammatical or any other type of error in these.
These will be sold only once, the buyer gets full rights to these.

here are the themes and word count

Presenting a gift with a hand made card, on Valentines Day (332 words) 4$
6 Valentine day gifts that you can make at home (493 words) 5$
5 Blunders, men should avoid on Valentines Day (509 words) 5$
10 Activities you can do on the Valentines Day (337 words) 4$

You can buy the article of your choice

or

Buy the whole article pack for 13$.

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Valid Page rank 3

registered at godaddy.com

BIN: $25

Payment via PAYPAL Only

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I have complied with the AdSense telephone verification process but it still shows as “Required Action” in my account, in spite of the fact that I received several auto-reply emails from AdSense Support saying and confirming that my telephone verification was indeed successful.

What can I do to have such problem rectified when nobody at AdSense Support is directly contactable??

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Im looking for someone to do a small php mysql script like the one you find in cloudsnet.com

you may login with the user id rental n password admin.

I want an admin like you find in the site where users can manage the listing. Nothing much I look forward.

Anyone like to do please quote me your price n your time to do it.

Thanks

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Parliament-Funkadelic and Rock and Roll Hall of Fame member, Jerome Bigfoot Brailey, has an innovative album coming out through Hoopla Media Group / LRT / INgrooves Fontana called “The Lovinator Experiment” with his new group Bigfoot & Bondz.

Signing Jerome Bigfoot Brailey to our company with his Bigfoot & Bondz project is a monumental highlight for our company. I framed his signature on our company record contract, I mean really, does it get any bigger than this? says Jonathan Hay (co-owner of Hoopla Media Group / Hoopla Worldwide and Jonathan Hay Publicity).

Jerome Bigfoot Brailey is undoubtedly one of the giants of Funk music. Wherever you turn in P-Funk territory you are bound to trip over the infectious beats of Jerome Bigfoot Brailey. Bigfoot will live forever in P-Funk lore, when Uncle Jam said he wanted you, Jerome answered the call and made his move from the outer regions of sanity to the inner sanctum of the Funk Overlord, George Clinton and helped the concept of Pure Funk-or P-Funk-became a reality, courtesy of “The Mothership Connection”. Its hard to imagine the sound of this momentous album without the fluid drumming of Jerome Brailey, who also co-wrote the track that epitomized the sound of Parliaments “Give Up The Funk (Tear The Roof Off The Sucker)”.

Throughout the seventies, Brailey was the predominant backbeat of George Clintons P-Funk organization, sharing the rhythm chores with such luminaries as Bootsy Collins on bass, Bernie Worrell on keyboards and guitar legends Eddie Hazel, Gary Shider, Mike Hampton and Glen Goins. Along the way, Brailey had contributed to some of P-Funks most successful and memorable moments, with seven Gold and Platinum records to prove it. Who hasnt heard of “The Mothership Connection”, “Clones Of Dr Funkenstein”, “Funkentelechy Vs The Placebo Syndrome” or “One Nation Under A Groove”? As well as contributing to output of Parliament-Funkadelic, Jerome was also to be heard on albums by Fred Wesley & The Horny Horns and Bootsys Rubber Band.

When the Mothership crashed at the end of that decade, the pieces of it exploded into new Funk and the first group members to jump the Mothership were Jerome Brailey and Glen Goins. Jeromes group Mutiny issued “Mutiny On The Mamaship” in 1979, followed in 1980 by “Funk Plus The One”, which served up more fluid grooves and massive critical acclaim.

In 1990, he continued working with such highly-acclaimed artists as Herbie Hancock and Buddy Miles, as well as his Parliament-Funkadelic allies Bootsy Collins and Bernie Worrell. In 1992, the world witnessed the birth of G-Funk as pioneered by Dr. Dre on The Chronic (Death Row Records), which leaned heavily on the P-Funk groove and is widely considered to one the greatest hip-hop albums of all-time. Chad Kiser (co-founder of Hoopla) asks, Seriously, where would Dr. Dre be right now if it wasnt for Parliament-Funkadelic? Jonathan Hay interjected, Dr. Dre should release a special series of headphones for Jerome, and call them Beats by Bigfoot cause a lot of the classic songs, rhythms and beats by Dre are heavily influenced from Bigfoot.

In 1993, Black Arc Records released O.G. Funk, “Out Of The Dark” the brainchild of Billy Bass Nelson, original Funkadelic Bass man, featuring Bigfoot. In 1995, collaborations between Bigfoot, Bootsy, Bernie Worrell and the late Eddie Hazel appeared on the Axiom Funk compilation, Funkcronomicon. That same year, Mutiny signed a single deal with Rad Records for the release of, “Sneakin Up Behind You” which saw the first collaboration with album cover art artist, the British based P-Funk cartoonist, Howard Priestley who has also created material for Rick (Horny Horns) Gardner, Mallia Franklin, Bootsy Collins, Ruth Copeland, and Garry Shider. Fast forward to now, and Howard Priestly is also doing the artwork for upcoming “The Lovinator Experiment” and he is being assisted by award-winning graphic artist, Sabrina Hale of Hoopla Media Group and Urbanista Graphix. They have come up with an extensive booklet of original artwork (in both physical and digital formats) that will give the P-Funk fans all across the world something to get really excited about. It sounds so clich?, but it really is a dream come true says Hale.

Lets get back to this historical funk lesson, on Tuesday, May 6, 1997, the Twelfth Rock and Roll Hall of Fame Annual Induction Ceremony was held in Cleveland, Ohio where the Inductees included Parliament-Funkadelic who received the prestigious honor for “Tear The Roof Off The Sucker” and “One Nation Under A Groove”. Sometime after the dawn of the new millennium, Jerome began taking his authentic Funk to other markets and working in Miami, Florida.

Shorty after, Bigfoot stumbled across Bondzwho is mostly known in the local Tampa Bay area music scene and from being in hip-hop collective Audio Stepchildheard some of his material and wanted to get into the recording studio with him. They began working via phone and email but while he was living in Miami Beach, Jerome decided to go to the Tampa Bay area (Tarpon Springs, Florida) and meet him in person. There they came up with the Bigfoot & Bondz idea and Bigfoot relocated to the Tampa area for six months and even brought along with his long time Mutiny engineer, Bruce Hensal and started coming up with the concept of recording Mello in a more funky, R&B, soulful type sound. Bigfoot said, Meeting Bondz and recording there was really cool. I already knew some of the local musicians such as Jerry Outlaw, Shawn Wainwrigt, Frankie J (from the Bar-Kays) and Reggie Dockens (who I met through Bondz). The people of Tampa had this universal vibe and loved Funk music and you couldn’t beat the beaches of Clearwater. It was paradise.

Bondz recalls, One night I was with friends Nik Sharp and Levin Vinson at a show, I think, when I bumped into my friend SW1, who is wicked nasty on bass and he went on to tell me to get in contact with boy Bigfoot, and I’m like P-Funk Bigfoot? He was like yea, and instantly I started reminiscing on partying to all the P-Funk classics and couldn’t wait to link up with Bigfoot. Bondz continues, We did some really great collaborations and I thought it was a wrap. Then Bigfoot suggested that we try some R&B. R&B?! I said, Are you crazy? Im a Rap artist and I can hold a note, but an R&B singer, no way. Bigfoot just laughed at me and convinced me to give it a try. I remember he would throw me out of the recording booth because I would rap the lyrics instead of singing them. After it was all said and done, we had an amazing album and Im so honored to be a part of the Bigfoot legacy.

Added recording engineer Jason Kitchen, I had an incredible time working on this album with Bigfoot & Bondz. When you have an opportunity in life to work with musicians of this caliber you take it. As a drummer myself and huge fan of the Funk, I’m not sure if Jerome truly understands what an honor it was to work with him. I’m truly excited for this release and hope everyone enjoys it as much as we did making it.

So now Jerome Bigfoot Brailey would like to introduce his new strand of funk with Bondz dubbed “The Lovinator Experiment” because Funk is about the rhythm within. And yea, its safe to say that we all still want the Funk.

Hoopla Media Group based out of Louisville, Kentucky (with LRT / INgrooves Fontana), along with its sister company Hoopla Worldwide with WIDEawake Entertainment will be releasing this new strand of Funk music to the masses. Leading pop culture media outlet, Dr Funkenberry will be premiering an exclusive song from this upcoming album soon. Man is starting to get real funky up in here, echoed Michael Bentley, A&R President of Hoopla.

This album is dedicated to the memory of Ajay “King” Alton Curry with proceeds of this album going to the Ajay King Foundation with the goal to educate

Guitar


Image by mrwalker
I call her Joline. Actually I just call her Guitar. Actually I just call it my guitar. It’s a Fender DG7, I think

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What are the effects, or types of effects available? Multi-purpose dedicated to the modulation, we can find choruses, flangers, phasers, tremolos, vibes. What technology is used? (Analog, digital, tube …) This is the Line6, 100% digital. Are they edited? Via an editor for Mac / PC? Editable: yes! Effects by 5 parameters, 4 programmable memories beaches. What is the connection? (Audio / MIDI) Stereo input and output. Supply via a transformer line 6 barrel. Is it a rack or rack-mount model? No. In short, a multi mas wrong if we place ourselves at the time when the pedal is released. Today, it makes me seem completely overwhelmed as material.

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Transistor amplifier with two channels, everything has been said. It is not mine but I use it every week since November. I think 750 watts shown are a little light at the same time it’s rare to need as much power. I play between a quarter and half of the volume for répets and concert hall with the average 4 * 10 of the same brand in 8ohms (150 people and sometimes fifteen zicos, resumed in PA). The DI is good. No need to take a microphone.

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Last year, Atkin was one of two UK luthiers (the other being Mick Johnson) to be commissioned by The Buddy Holly Guitar Foundation to make two of 28 recreations of Holly’s 1943 Gibson J-45, which would then be loaned long-term to well-known musicians to help raise funds for charitable organisations. Since then, he’s actually made six of the instruments, for the likes of Sharleen Spiteri, Albert Lee, Mick Jones and Phil Everly.

“This AA comes with an infusing, open-voiced warmth built in, contributing to pleasingly sweet-edged highs and sustain.”

Alister’s catalogue, meanwhile, has gone into overdrive, with a wealth of new body shapes and materials being offered. But the most intriguing new additions to the roster are the AM Specials, available in all seven of his body styles, from which we have an AA size for this review.

At 15 inches wide, the AA has a similar body span and depth to Atkin’s Martin-influenced OM, but the shoulders and lower bouts are subtly more rounded in their profile, lending an appearance more akin to a scaled-down small jumbo than a conventional 000 or OM. As the initials suggest, the AMs have an all-mahogany build, but rather than follow Martin’s no-frills, no binding route seen on its 15 Series, the guitars are gloss lacquered (in nitrocellulose) with matching mahogany body binding.

The latter may seem a trivial point, but the binding provides a more precise definition around the body’s perimeters than simply relying on the edge grain of the top and back to demarcate the adjacent rims. Elsewhere, the trim is purposefully restrained, achieving a clean, simple elegance with detailing such as a narrow pearl soundhole ring, ebony headstock and heel cappings, and a counter-grained mahogany fillet across the endblock.

Buffing of the lacquer is immaculate and, judging by grain reflections against the light, it’s not too thickly applied. The guitar’s internals are clean as a whistle.

Topped by a surefooted, aesthetically sympathetic set of nickel-plated Grover Sta-Tites, the 645mm-scale low-gloss neck is one-piece mahogany, secured using Atkin’s usual Collings-style bolting system. Fretting along the bound ebony fingerboard is impeccably polished, while the near-flat radius will allow as low an action as you could wish for. There are no front position markers but the crucial side dots are there.

General dimensions are mainstream, starting at 43mm across the bone nut, with a slick, snug, moderate-depth ‘C’ profile that has just the merest hint of V’ing along the crown. Bridge string spacing is an all-purpose 55mm, making fingerstyle an easy proposition as things stand.

Should you favour a more overt picker configuration, however, Atkin offers a no-cost option of one that’s 45mm at the nut, with 57mm bridge spacing. If required he’ll also fit, gratis, a strap button at the heel, which isn’t part of the standard spec.

Sounds

All-mahogany acoustics can sound dry, but this AA comes with an infusing, open-voiced warmth built in, contributing to pleasingly sweet-edged highs and sustain. Fresh off the production bench during early March’s cold snap, its dynamics sounded a tad tight, but with not much playing in required, this aspect is blossoming, revealing a responsive, rounded low end that doesn’t compromise the clarity and definition expected from a guitar of this size.

There’s a timeless, vintage-like demeanour to this AM Special that greatly impresses and attracts. It’s not a flash instrument but it definitely shines – both literally and metaphorically – where it needs to.

It looks and plays the business in AA form, and doubtless will do likewise, whichever Atkin body style takes your fancy.

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Taking the basic concept a step further, Alesis has produced a similar-looking pad with all the above features – but, in addition, the new model has the ability to play user-created samples.

“While a sample is sounding, the same sample (or an additional one) can be triggered again (and again!), creating an interesting wall of sound.”

Build

While the new pad is the same size as its Percpad predecessor, Alesis has embellished it with a tasteful chrome trim, shiny black casing and an LCD segment instead of the basic LED display. This shows a variety of information such as voice names (samples and internal), sound location (card or internal) and range of parameters affecting the control of any of the sounds including tuning, reverb, pan and volume.

Located well out of sticks’ reach is one of the most significant, yet understated, additions – the SD card socket. While Alesis doesn’t include an SD card with the Samplepad, one can be purchased for less than a fiver for a 4GB card.

As on the Percpad, there is a bank of LEDs that shows which pad is being struck, proving useful for assigning onboard sounds and samples.

Hands on

We captured a selection of samples (voice, drums, snippets of music and sound effects), using basic PC sampling software and saved each of the 44.1K .wav files onto the 4GB card. Even with a stack of samples, there’s still a load of space left for more.

With the card inserted, there is a slight pause while it checks the integrity. Then one of the first samples to load is a ‘power chord’ into PAD 1 (keeping the tuning as with the original sample); we put the same sample into PAD 2, altering the tuning. Though there are nine levels of tuning, this will enable an internal sound or sample to be taken up or down by around a third.

While a sample is sounding, the same sample (or an additional one) can be triggered again (and again!), creating an interesting wall of sound – a great effect with the power chord we’d created previously! Once played through the pad, the samples we load are virtually indistinguishable from the original, proving the pad’s ability to faithfully reproduce the sounds.

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Cakewalk’s Dimension Pro has been one of my standard go-to synthesizers and samplers for many years, back when I was using Cakewalk’s Project5 software (my first DAW). I still use Dimension Pro quite a bit with my new setup in SONAR, although I wish it was also compatible with my new Mac OS Lion system. If you are just starting in the world of synthesizers and samplers, Dimension Pro has a little bit of everything, and the sounds are great! Real pianos, electric pianos, techno synthesizers, orchestras and strings, ethic instruments, drums, and much more are included in the immense sound library. It functions both as a synthesizer interface and a sampler interface, with complete control over envelopes, LFO, polyphony, multi samples, built in effects, and routing. Dimension Pro has four separate instrument channels, which can help create deep, complex sounds. You can also chain the instruments together if you want to apply multiple effects, filters, or envelopes. Although it is easy to create your own sounds from Dimension Pro’s library, it is best to work off of the sounds from the diverse sound library. The pads and leads are very easily customizable, and it’s easy to see and modify the parameters. The envelope section is especially simple to work with, since it actually draws out the envelopes; no need for ADSR knobs! The sampled instruments are very good; the piano samples include advanced sound modeling of the sustain pedal. The main strings are realistic and full, and there are extra string samples from the Pocket Orchestra section as well, which are very lightweight, and sound great as well. The Rhodes have been my standard electrical piano sound for years. Overall, Cakewalk’s Dimension Pro is a simple, affordable, versatile synthesizer that does a little bit of everything. Nowadays, I don’t use it as much, since I have dedicated synths for many instruments, but when I was starting out, Dimension Pro was an invaluable tool.

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I use the blue spark for singing and rap partner has an avalon 737 sp it is excellent and it seriously is not far from the sound quality that can offer an AKG C414 for example the price I saw you recommended if you tried of clarity, warmth, brightness and presence to your voice has a low price is the microphone that you need at home otherwise it is associated has an avalon 737 sp then the preamp has a lot to say as try this configuration on the same config you will not be disappointed.

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