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Injuries When Playing Guitar
To avoid any sort of injuries when
playing guitar a common sense approach is recommended. Just what
do I mean by that?
Well, there are many simple and
obvious precautions you can take that will prevent most injuries.
To start with you can adopt the
proper technique, posture and hand position.
A good book like Scott Tenant's
Pumping Nylon or David Braid's Play Classical Guitar can give you
sound basic fundamentals in this area.
With technique keep your movements
simple or, as my teacher used to say... "Employ an economy of
If you have less movement you will
naturally have less friction and tension and therefore less chance
Teachers of guitar vary in their
interpretation of posture and hand position but in classical
guitar at least, there is generally widely accepted agreement on
You do need to be aware of your
posture and hand position when a beginner or intermediate as you
are learning habits that will last a lifetime.
I remember my teacher constantly
pushing my shoulder down as I played. As I became tense my
shoulder would "ride" upwards as my body would tense up.
He was giving me vital feedback on
leaning to relax as I was learning basic technique.
It pays to have a good, alert
teacher who can short circuit any problems as they appear!
Another point of note is when you
begin to play guitar you can often overdo it.
Indeed, Anthony Glise writing in
Classical Guitar Pedagogy states...
"Virtually all guitarists injuries
are from over-use (simply practicing too much) or misuse (not
warming up properly), playing pieces that are too difficult,
improper hand positions, overstress, etc."
These are all things that the
beginner and intermediate player are prone to.
You must develop your capabilities
in line with your common sense and resist the urge to go "too fast
To quote the cliché..."You gotta
crawl before you walk!":)
While we're on the subject of
common sense, you need to take breaks in your practice routine.
You know how time flies when you're
engrossed in a new and exciting piece. We all have the tendency to
play through the pain at times but you must learn to avoid this
sort of practice if you want to avoid long term injury. It might
be wiser to break your practice sessions into smaller blocks and
spread it out over the day rather than all in one hit.
I know we're all "time-poor" these
days but is it worth the risk?
Only you can answer that one.
Make sure you build strength and
flexibility in your hands and indeed, your body.
You can do this via a healthy
lifestyle that consists of diet, stretching (including yoga),
meditation and just plain relaxing and taking a break.
If you do all of this and find your
still in pain - STOP!
As they say on the advertisement
for a prominent pain reliever... "Pain is nature's warning."
If you find you get long term pain,
use your common sense again and seek proper medical advice. To
play through pain is downright silly.
I hope this brief discussion can
give you some direction in this area. :)
About the Author: Trevor Maurice is an Australian,
living in beautiful seaside Maroubra, in the eastern suburbs of
Sydney. He's been involved in playing
guitar (mainly classical) for longer than he cares to remember and
has also taught the instrument for many years. He is teacher
trained, having a Diploma of Education (Majoring in music)
He has also taught Primary
(Elementary) school for many years and had a long-held dream to
build a quality website for the classical guitar that is of use to
anyone even slightly interested in this beautiful instrument. He
has now made that dream a reality with the highly rated...
JOHN LENNON - The Man and His Times
by Kathy Unruh
Lennon wasn't always my favorite Beatle; at first it was Paul. But
gradually, over a period of time, it was John Lennon who won my
heart. I think the transition began sometime during the latter
part of the 1960s. Back then, it seemed to my young mind, that the
world was falling apart. Revolution and anarchy were on the
doorstep. John F. Kennedy, Martin Luther King and Bobby Kennedy
had each been assassinated, riots were springing up all over the
south, Watts was burning and the war in Viet Nam was escalating.
Out of the turmoil a growing hunger was born among many of my
generation, including myself, for truth and peace.
During this period I had one brother who was fighting in the
jungles of Viet Nam and another who had recently returned from
overseas. I can remember taking part in some of the protests at my
school, which consisted of "sit-ins", walking out of class, and
wearing black arm bands in recognition of the soldiers who had
died. The Peace Movement became very important to me and my hero
in this effort was John Lennon. John and Yoko were staging several
protests in hopes of raising public awareness and support for
peace in Viet Nam, as well as other human rights issues they cared
about. I followed there activities with great interest and gave
what I could to their cause. So you can imagine how strange it
seemed after all those years, to find myself standing in the
boyhood home of John Lennon, quietly paging through a book which
he had written.
It was the summer of 2003 and my husband and I were on an extended
honeymoon in Britain. Two years earlier he had met a woman whose
husband had gone to school with John Lennon. When she learned that
we were planning a trip to England, she offered to give us a
private tour of the Beatles' stomping grounds. Through a
mysterious set of circumstances we were able to visit the home
where John Lennon lived as a boy, as well as each of the other
Beatles' homes in Liverpool. We also went to The Cavern, where the
Beatles often played prior to being "discovered" by Brian Epstein,
and Abbey Road Studios in London, where they produced their last
John Lennon was born "John Winston Lennon" October 9, 1940 in
Liverpool, England. His parents, Fred and Julia Lennon, divorced
when he was about four or five years old, leaving him to be raised
by his Aunt Mimi and Uncle George. John never saw his father
again, but Julia continued to make sporadic visits from time to
time. As a little boy, John would sometimes hide when his mother
Julia came to see him, because the emotional pain was too much for
him to bear. Though his Aunt Mimi and Uncle George did their best
to provide a good home, John always felt abandoned and unloved. He
became angry and rebellious as a result and gained a reputation as
a bully or "Teddy-Boy". Then one day he heard a new kind of music
on the radio, called Rock and Roll, and his life was changed
forever. From that point forward all he wanted to do was learn how
to play the guitar.
Well, as they say, the rest is history. The Beatles soon emerged
and later took the world by storm in 1964 when they appeared on
the Ed Sullivan show. Their first American single "I Want to Hold
Your Hand" was released and distributed through a small record
label in December of the previous year, and by January it had
leaped to number one. The song had sold 1.5 million copies within
five days and was expected to reach two million in another month.
This was an unprecedented phenomenon in the recording industry at
the time when a hit song usually reached it's peak in sales at
200,000. Now all the other "big" record companies that had
originally scoffed at them, were kicking themselves in the you
know what for being so blind to the Beatles unique sound and
charisma. Since then, the Beatles and their music have exceeded
more than three decades of fame and popularity.
John Lennon was, himself, a very gifted writer, songwriter and
poet. To this day, the "Songwriting Techniques of John Lennon; The
Beatle Years" is one of the most popular classes offered at
California's Berklee School of Music. His lyrics could be abstract
and difficult to understand, or extremely simple and
straightforward, often providing a rich spectrum of color and
creativity through the use of metaphor and simile. John had a keen
mind, quick wit and sharp tongue. It seemed as if he was always
searching for something just beyond his reach, something to fill
the emptiness and give meaning to his life. Happiness had somehow
eluded him until he met Yoko Ono, after which he became completely
disenchanted with the Beatles, and announced that he was leaving
the group for good. "I want a divorce" he told Paul, and the
Beatles were formally dissolved by January of 1971, each going
their separate ways.
On December 8, 1980, John Lennon was shot dead on the streets of
Manhatten, New York, just outside his home, by a lone gunman named
Mark Chapman. Chapman later signed a statement for the police
saying "I never wanted to hurt anybody. My friends will tell you
that. I have two parts in me. The big part is very kind; the
children I worked with will tell you that. I have a small part in
me that cannot understand the world and what goes on in it. I did
not want to kill anybody and I really don't know why I did it..."
I don't know why it still seems so ironic and hard to believe that
John Lennon was murdered. Maybe it's because he had come to
represent a message of hope and peace for my generation. John had
developed a social conciousness that was not unlike others who had
gone before him; men like John F. Kennedy, Martin Luther King and
Bobby Kennedy. None of these men were perfect, but they were all
influential in making us aware of the larger picture. They pointed
out the need for change and the importance of developing new
ideas. They knew how to draw us in close and inspire us to dream,
to imagine, and to pursue doing whatever we can to help establish
a better world.
About the Author:
Kathy Unruh is a singer/songwriter and webmaster of ABC Learn
Guitar. She has been writing songs and providing guitar lessons to
students of all ages for over 20 years. For free guitar lessons,
plus tips and resources on songwriting, recording and creating a
music career, please visit:
Finding the Right Teacher
Finding a good teacher is not always
easy, at any level. At the beginner level it is important to get
on the right foot and as an intermediate player you need to know
that your teacher really knows his or her stuff if you want to
move forward. What it really comes down to is "Are you
getting the right information?".
The big problem when it comes to music instruction is that it is
not necessary to have any diplomas or awards in order to set up
a teaching practice. Conversely, the best teacher may not have a
degree in music, just a phenomenal talent for teaching.
The first thing to understand when finding a good teacher is
that the best teachers are not necessarily the best players. And
it certainly goes that great players are invariably not the best
teachers, possibly because they are far too wrapped up in their
own playing to be concerned about anyone else. OK, a
generalization but a theory with legs.
So let's assume you are just starting out, an absolute beginner,
so what do you do? Well, the first resource I would use is your
own personal contacts. You may have a friend or cousin that also
took lessons and he or she may be able to recommend someone.
Music stores often provide instruction and you can also look in
your local paper for private instructors. Even do a Google
search. It's actually very easy to find a teacher, but can you
count on them to feed you all the right information?
Let's assume you have a short list of teachers in you area. I
think it is definitely in your interest to make sure that they
are teaching simply because they love to teach. Not
because they are waiting for their "big break". This is why I
think it is important to find a professional teacher, not an
aspiring pop star. So you might ask a series of questions:
How long have you been teaching?
What teaching qualifications do you
How many other students do you have?
Can you give me the phone numbers of
two of your students?
This may seem harsh, but I just think it is so important to get
the right person from the start. Why? because as a student you
have no idea whether your potential teacher actually knows what
they are talking about. So don't be shy to ask.
As an intermediate student you probably need to rely more on
word of mouth to get the right teacher to take you forward. In
your local neighbourhood, especially if you have been playing a
while, you are probably already hooked into who the teachers are
so it may not be such a problem.
The other issue, aside from musical expertise, is that your
teacher and you need to like each other. If you are to be
successful studying together this is so important. I remember
growing up that I would excel in the subjects where I actually
liked my teacher. And of course I dreaded going to class with
those teachers I did not like.
I am happy to say that I really liked all my guitar teachers
except for one, and that person lasted just a few lessons. I got
lucky with the others there is no question. But other students
may not be so lucky. I have heard a number of times that
students realized much later that they did not have a good
teacher. So at what point do you decide to move on and find a
If you have done the prerequisite research I mentioned then this
should not be an issue. However, guitar playing is such a
personal undertaking that finding the right teacher is relative
to each student. What works for one, clearly does not always
work for another.
Your teacher should care about you and take an interest in
seeing you advance as a player. I think this would be the
biggest red flag to me if I was taking lessons all over again. I
would want to know that there was some nurturing involved. If
you feel that there really is no connection between the two of
you then I think this might be a factor you can use to determine
whether you move on or not.
It's tricky. As a student you want the best teacher for you but
you may not know if there is no barometer to show you.
I also think that many times the student is to blame for being a
lousy student. I remember when I used to give private lessons
that a few students would come back week after week and had not
done any practice at all. I found myself explaining the same
things over and over because we couldn't move on until the
essential groundwork was covered. These students eventually gave
up because they had no drive or ambition to improve. This can be
very frustrating for a teacher. Other times extremely talented
players would come for just a few lessons because all they
needed was a little fuel to go off on their own and practice.
They were literally sponges. These students are heaven for
So do the research, then take a lesson or two and see if that
teacher is right for you. If you are serious about working at
your instrument then you shouldn't be to blame for being a bad
student. At that time it's simply a matter of finding the right
person. Don't short change yourself.
Self Home Recording vs Paying a Recording Studio
by Brandon Drury
the old days (around Nam) recording at home was a new miracle. You
could actually hit record on a device and capture sound in your
own home. Your eyes would light up just like Thomas Edison did
when he first invented audio recording. Fast forward to 2005. Its
now completely affordable to outfit a fully functional recording
rig in your home for the price of a high quality, American made
guitar. While the price of getting into home recording is much
cheaper than it has ever been before, its still a lot of money. Is
setting up a small studio worth the price? What are the pitfalls
of trying to record yourself? Would you be better off just paying
a professional recording studio to do the job for you? Hopefully,
Ill answer these questions and more.
Takes. You are going to need a lot of knowledge, gear, time, and
patience before jumping into the recording studio world. I was a
computer nerd half done with a degree in electronics when I jumped
into the recording world. I understood electronic basics and had
run live sound numerous times. I totally understood how to operate
a mixer/console. So all I had to do was jump into the recording
portion, right? ....Well, it turned out that there was quite a
learning curve to go from an empty room to the creative process
(which is the fun part) and walk out with a finished cd in hand.
no idea how much time I would spend cursing Windows audio drivers,
failed hard drives, out of sync audio files, clicks and pops,
unwanted distortion, etc. Truth be told, I went from an average
computer user to a computer master in that couple of months it
took me to work out all the kinks in my system. That's right. It
took me a few months before I was ready to record my first band.
It was that tough. That was in 2001. Maybe things are easier now.
Im guessing that you'll still have quite a road in front of you.
you get your rig fully operational, you are still going to have to
learn the software. I would HIGHLY recommend that you buy a DVD
and a book to teach you the software that you intend to use. I
could have saved myself hundreds of hours of headaches if I would
have just read the stupid manual and had a little instruction. I
learned a lot by tinkering (which may be your nature too) but
there is no point in learning things the hard way if you don't
have to. On my very first recording session, I had my manual in my
lap. You could only imagine how stressful it can be if you have 5
guys staring at you while you desperately push buttons on
something you barely understand. Id say it took me a good 3 months
of everyday tinkering before I felt comfortable using the software
for basic recording. Keep in mind that I wasn't trying anything
advanced here. No crazy editing, no fancy automation. In fact, I
had very little understanding of audio when it came down to early
reflections and multi-tap delays. Im talking about just getting
the stupid song onto the computer.
so I've kind of prepped you on how the learning curve required for
recording music. Lets talk about the gear.
days, its a waste of time to use the stand alone recorders you see
in the mail order company catalogs. While these boxes promise to
have everything you need to record your demo (and they usually do)
the learning curve requirements are astounding. Yes, I just wrote
an entire section on how tough it was to learn computer recording.
However, there is a big difference between the learning curve of
computer audio and the learning curve of stand alone recorders.
When you learn computer knowledge, that knowledge is useful on
just about every computer on the planet. (I've kept myself from
starving a number of times with my computer knowledge which I
mostly attribute to recording). Also, computer recording software
generally uses a mixer that is a fairly close simulation of the
real thing. The concepts stay the same. When you are using the
stand alone recorders, you end up learning to hold E1 + Function +
Menu to get to Aux send page. Why do you need a page for aux send?
Anyway, Ive had several friends who have used these boxes and
don't know anything about audio. They spent all their time
learning this foreign language that will be obsolete as soon as
the record is. In summary, I highly recommend that you go with a
computer for your digital recordings.
so you need a computer. The good news is you don't need a very
fast one by today's standards. In fact, I built my recording
computer for about $300 and its overkill. I need a faster computer
than most because I do more projects than most. It makes a
difference when I'm rendering down mixes that I can do it twice as
fast because I have too many songs to mix on a given day. I don't
have 3 minutes to sit around and wait for the computer to think.
of the computer, you'll need a soundcard. I recommend a soundcard
with a breakout box. This means that a cable will actually come
out of the back of your computer and connect to a box where your
audio connections are made. Setups with breakout boxes are almost
always preferred. In fact, I only know of one professional audio
company that doesn't rely on a breakout box for their computer
interphases. I do not recommend Sound Blaster and those sorts. We
are not playing games or watching DVDs. We are recording music.
The demands are certainly not the same. You will find many
Firewire and PCI soundcards in the mail order catalogs that work
great. Pay special attention to the number of inputs and optional
preamps. This is important. You may only need 2 inputs for your
recording. In fact, most projects I do seldom use more than 2
channels 90% of the time. Of course, the other 10% of the time we
may be using 19 or 20 channels. If you are recording electronic
music and only plan on doing a few overdubs with vocals or the
occasional instrument, 2 channels will probably work fine. If you
plan on recording your entire 4 piece rock band live with rock
drums you are going to need at least 10 inputs (maybe more). So
plan ahead and figure out how many mics you plan to use at once.
you need preamps. Preamps boost the signal of a microphone up to
line level and are pretty much required. Preamps are usually the
top knob on the mixer of your PA. You'll need one preamp for every
microphone you plan on using at one time. You'll want to have the
same number of preamp channels as you do inputs on your soundcard.
There are many soundcards that come with preamps. There are many
many external preamps that CAN improve you sound quality just
slightly. If all else fails, use the preamps in your PA mixer. If
your mixer uses inserts you can split the signal right off the
preamp by only pushing in the cable half way. Im referring to the
cable that goes out of your preamp and into your soundcard.
you'll need mic stands. There aren't too many cases where you
don't need a mic stand. You have to be very very careful with mic
stands. If you buy a supercheap mic stand, you may have problems
with the mic changing its position in the middle of a session. The
results can be absolutely horrible. So buy decent mic stands. $30
per stand is a reasonable low budget stand. I would not recommend
that you spend any less on a mic stand.
microphones. This is where it gets fun. There are so many to
choose from and there are so many tonal options. You'll want as
many mics as you have preamp channels and soundcard channels (or
you went overkill on preamps / soundcards). Choosing microphones
is beyond the scope of this article. You can spend $50 on a mic or
you can spend $3000 on a mic and you have no way of knowing which
will sound better on a given source. This is a severely big deal
when it comes to recording and its one major area that separates
the men from the boys, so to speak. Home recording studios usually
have terrible mic selections to choose from.
most important piece of gear in your studio is your studio
monitors. If you try to use a boombox you will be very
disappointed when you burn a cd and try to show mom on another
stereo system. Of course, youl'l probably be disappointed even if
you have a $10,000 set of studio monitors because your acoustics
will be all wrong in you room and even still you probably haven't
mixed enough songs to be any good at actually mixing.
I've outlined what goes into recording your cd. Guess what, any
decent studio has all of this taken care of you. Do you know about
audio latency in XP? Do you know anything about room nodes? The
studio guy probably does. That's how he makes his living.
you walk into a professional recording studio ran by a serious
engineer who cares about your music, you can expect to focus on
one thing... the recording of your music. You don't have to wonder
about the specs of the computer, the cables connecting the preamps
and the soundcard. You don't have to worry about wasting huge
amounts of time while the bass player stares at a mess of cables.
You don't have to buy the mess of cables. In fact, Ive recorded
entire albums cheaper than you would spend on mic stands. In other
words, I've delayed charging a high price so that I could get tons
of practice and become well known in my area. You might find a
serious recording guy yourself who might work cheaper than you
experienced recording studio engineer knows that you probably
don't. 1)The value of his time - An experienced engineer isn't
cheap (but could be much cheaper than trying to record yourself)
but he knows that his time is worth X dollars. How is this an
advantage? Its amazing how humans rise to meet a challenge. When
you go in knowing that you are about to spend $20, $30, or $50 an
hour on recording all of a sudden you take the time to get your
guitar setup beforehand. You make sure your songs are mega tight
and ready to go. You get your butt in gear because you are about
to spend some money. When your guitar players tell you that he
thinks he has the recording device working right, you don't jump
up get busy. You get frustrated while he tries to figure out the
problems on channel 1 and 5.
2)Advanced knowledge of acoustics - This is one of those areas
that you will entirely put off. At first, you are just trying to
figure out how to turn the computer on. Have you really put any
serious thought into the comb filtering effects of your room? The
odds are minute. In fact, I bet most bands put no thought into
their room acoustics. Guess what. Any good studio has spent
thousands and thousands of dollars perfecting their acoustics. The
only thing more important than acoustics in a recording is the
song, the musicians, and the instruments. After that, acoustics is
first. Proper acoustics are more important than microphones. Id
gladly record an album with $50 mics in a $2,000,000 room before I
did the opposite.
3)Advanced microphone selection - Having the right mic for the job
is an extremely important part of being a recording engineer. When
you know that a guitar is too bright, you put a mic on it that
will reduce this brightness. When a vocalist sounds dull, you put
a bright mic on them. It goes on and on. This is what really makes
the sound quality part of recording. Recording at home will make
it hard to justify a $15,000 mic collection (or much higher). Some
studios have $15,000 mics.
4)Advanced knowledge of mic placement - Even more important than
the microphone is where you put it. A seasoned pro will know what
has worked on the past 10 albums he's done. He knows what he likes
and what he doesn't. He doesn't have to wait until after the
mixing is complete for him to figure out that the snare sound
sucks. You'll be experimenting like crazy, but it will take a
while before you get it right, more than likely.
you combine all this knowledge together, it becomes quite clear
that there are serious advantages to letting the pros handle the
work. With that being said, if you really want to learn audio,
don't mind pumping thousands into a bottomless pit, and are really
that excited about taking years and years and years to learn the
craft properly, go for it. I did.
About the Author: Brandon
Drury has written countless
recording tutorials at his website, recordingreview.com. You
can hear a portion of the over 600 songs he's recorded and mixed
at his recording studio website
Flaming Guitars! Minarik Fuels the Excitement of a New
Generation of Musicians.
by Scott G
Celebrating an endorsement between G-Man Music and the fiery
axe-makers known as Minarik Guitars, Scott G (The G-Man) reviews
the Minarik Inferno X-treme.
From the Telecaster to the Flying V to the Iceman to the Warlock,
some guitar designs are forever branded on our consciousness, and
now there's a new one: the Minarik Inferno X-treme. The body shape
erupts in furious fingers of flame. If ever there was a guitar
design destined to ignite the imagination of young players,
especially boys and girls who want to rawk, this is it.
Not that the Inferno X-treme lacks subtlety. With scientifically
placed tone chambers, this instrument can sing sweetly if that's
what you desire. Or, it can live up to its appearance and enable
you to carve sonic craters in the parking lot.
Although this guitar has a look that will inspire thousands of
preteen statements along the lines of "Mom, that's the one I
want," I suspect that tons of established players will find it
useful in the studio or on the road because of its delicate
balance, sleek feel, and stunning versatility. (And besides, the
cunningly crafted guitar is also available in a more traditional
"So, what's the story on Minarik Guitars?" I can hear you ask. As
the designer of the B.C. Rich Goddess Warlock and several other
noteworthy models, Marc Minarik already has a legacy in the
business. Now heading up his own company, Minarik has the goal of
fusing quality workmanship with visually exciting design concepts.
Actually, his plan is much more complex than "make it attractive
and build it right." Marc Minarik is as eager to talk about the
playability of his guitars as about their construction and
appearance. And if you inquire about the light weight and the
chambered body, he is just as pleased to demonstrate the superior
nature of his firm's products.
The flame-shaped body isn't just flashy; the size and curve of the
flames have been carefully calculated to positively affect the
tone and balance of the instrument. The flame design is eye-candy,
but it's the application of the physics of sound that makes the
Minarik Inferno X-treme really hot.
With a wonderful combination of form and function, the Minarik
guitar line may have some interesting side effects, like bringing
vitality to retail sales, launching a new generation of guitar
players, and saving music from passive pop.
Not bad for a guy with a dream about a flaming guitar.
# # #
Author: Scott G (The
G-Man) proudly plays a Minarik Inferno. He creates radio
commercials and composes music for songs and spots at G-Man Music
& Radical Radio. A member of the National Association of Record
Industry Professionals (www.narip.com)
and The Recording Academy (www.grammy.com),
he also writes about music for the Immedia Wire Service. He is on
the Web at iTunes,
Chris, a new consulting client, asked me to help him increase
sales on his affiliate marketing site. As he was describing his
site and the problem, I thought, "This is going to be a quick
fix." How wrong I was!
site was excellent. Other than a few minor points, it
followed all my basic rules for a successful affiliate
The site was focused around a single theme in a profitable
niche, with an excellent selection of high-priced,
Chris had gone the extra mile to have his site
professionally designed, and it was simple, elegant and
user-friendly, employing consistent navigation and a nifty
database-driven search results system.
He was working directly with his merchant partners to create
ad copy that offered his visitors the best possible deals.
And he was advertising in the pay-per-click search engines
to drive tons of targeted traffic, and using hundreds of
keyword listings with brilliantly worded titles and
So, why on earth were his sales so low?
I knew I was picking at straws, but during our first
session, I made a host of recommendations for improvement,
a domain name change
background color change
reformatting the page table size
rephrasing offers more positively
adding relevant graphics and photos
dropping poor performing merchants
adding a newsletter
adding new products
redirecting non-buyers to additional offers
Chris implemented all my suggestions as well as a few of his
own. After giving the new version a few weeks to prove itself,
we scheduled our second teleconsulting session. I was
anxious to hear how well the site was now performing.
You can appreciate my dismay when Chris told me that his
sales had actually dropped!
I reviewed his site again, and it suddenly struck me...
he should try blue links! Why? Because web design convention suggests that links should be
blue, visited links purple and active links red. Although nothing written in stone about link color, I believe that those conventional colors should used whenever they compliment site design.
I'd changed my own site links, Sage-Hearts.com, from maroon to blue sometime before and noticed a nice conversion rate increase. Sure enough, that WAS the answer to Chris' site problems... His conversions increased 1100% almost overnight JUST by
changing his link color to blue.
In addition to being underlined, people expect links to be
blue, and in some cases visitors may have problems with sites that don't conform to their expectations. With the average site visit lasting only about 8 seconds, we
don't have time to waste confusing our visitors with basic
site navigation. Use blue links if possible to keep your
navigation instantly recognizable, unambiguous and consistent.
© Copyright Rosalind Gardner, All Rights Reserved.
Article by Rosalind Gardner, author of the best-selling "Super
Affiliate Handbook: How I Made $436,797 in One Year Selling Other
People's Stuff Online". To learn how you too can suceed in
Internet and affiliate marketing, go to:
Jamorama, The Ultimate Guitar Learning Kit
We’ve just finished
looking at Ben Edwards’ latest developments to his guitar learning
package, Jamorama - the Ultimate Guitar Learning Kit.
Ben and the team have built on the
already solid foundation that they have in their Learn to Play
Guitar with Jamorama books, and developed their product further
with the addition of several exciting new products to further help
budding musicians learn to play the guitar.
The three books, Learn to Play Guitar with Jamorama for Beginners,
Intermediate and Advanced, are already proving to be one of the
most popular guitar learning guides on the internet.
In addition to this, the Jamorama team have also developed two
exclusive computer games to aid learning of musical notes, both in
transcribing and in reading written music. These games make the
monotony of learning to read music fun, and also enables students
to develop their ear for transcribing their favorite songs from
Both games are well presented, and are invaluable in
developing the key skills necessary in being a better musician.
Two bonus e-books have also been added, and these cover how to
tune your guitar, and techniques that will cut your learning time
A further bonus available to customers is a free online
consultation to students who may have specific concerns or
problems to address. This is very popular with hard to solve
This package is impressive because it is one of the most complete
packages regarding the whole process of learning the guitar, from
strumming, muting and bending, to timing, reading music and
We really believe this package is at the very cutting edge of
learning techniques for guitar players. It is full of good quality
information, and most importantly, it is applied in a manner that
is both fun and maximizes the learning progression of guitar
Don’t just take our word for it though, take a look for yourself