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Though the company is trying to shed its arrogant, customer-unfriendly image by providing road maps to new software releases, its biggest product of all isn't playing along. The next version of Windows, code-named Longhorn, has been delayed so much that it has acquired the nickname Long Wait. Gates recently warned that we would have to cool our heels until 2006 before we would see it five years after the release of Windows XP and even that date isn't certain. "We'll ship it when it's ready," says Neil Charney, director of product management for Windows. One reason for the delay is that Gates' "trustworthy computing" plan has pulled programmers off Longhorn to work on fixing Windows XP, patching the kinds of security holes that led to record-breaking viruses like the Blaster worm.
A bigger problem for Microsoft is that fully 65% of Windows users have not yet upgraded to XP. Why should they, when there's another new version taking shape? As Gates is fond of saying, "Our biggest competitor is our installed base." Now the Longhorn team has been told to scale back its ambitious plans for the new operating system in order to make sure it will work with the average PC.
The Longhorn delay is causing an industry logjam both in Redmond and down in Silicon Valley. Since 95% of the world's computers run on Windows, practically all software makers tie their development process to the life cycle of each new version. But nowhere is the long wait for Longhorn more damaging than at Microsoft. After all, you can't have the new Longhorn version of Microsoft Office until Longhorn ships.
Result? There's little in Microsoft's immediate output to make consumers go wild. The biggest product the Windows team is touting for 2004 is a service pack containing mostly security updates to Windows XP. There's also an improved version of Office for Macintosh (see the review in the Your Time section), but that is a niche product compared with software for the vast PC market. "This is not going to be a banner year for products, that's for sure," says Mary Jo Foley, editor of the Ziff Davis Media website Microsoft Watch.
At the same time, Microsoft faces renewed competition from old enemies. Less than a year after its surprise release, Apple's iTunes for Windows has garnered most of the music-player market, sidelining Microsoft's Windows Media Player and fueling speculation that Apple guru Steve Jobs will release more free Mac software (like iPhoto or iMovie) for the PC.
Then there's Linux, the free, customizable operating system that threatens to shatter the desktop dominance of Windows. Each week brings a fresh Linux victory. Sam Palmisano, CEO of IBM, wants his company to be Windows-free by 2006. The governments of South Korea, China and Japan usually not the greatest of allies have teamed up to create their own flavor of Linux, which could well flood the Asian market. A study by research firm Gartner predicts that Linux will run 21% of desktops by 2008, taking its market share directly from Microsoft.
Such a threat is exactly the kick in the pants the company needs to get its mojo back. "Microsoft works best when there's a foe," says financial analyst Rosoff. And as Apple and Netscape discovered to their chagrin, the folks at Redmond are not shy about adopting their rivals' good ideas. The real attraction of Linux is that it is open source anyone can poke around in the software code, and engineers around the world can suggest improvements. That is anathema to Microsoft, which fiercely protects its intellectual property. Yet to meet the threat, Microsoft has hired some top Linux brains and released its first open-source product. It's a relatively insignificant geekware tool called WiX. But considering that Ballmer previously called open source "a cancer," WiX may signal a major change of heart.
Which at this company is pretty much business as usual. "We have a treasure chest of technology that allows us to be very agile," says Rick Rashid, Microsoft's senior vice president for research. "If the world changes, we can change with it." Being aggressively agnostic about technology is the only way Redmond has a shot at double-digit growth again. Gates & Co. may never soar as it did in the 1990s, but it can still avoid the industry's penchant for crash landings.


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Bradman's home listed - against his wishes
Page Tools
The home of cricket legend Sir Donald Bradman will be heritage listed, in a decision that would have The Don turning in his grave.
Before his death, Sir Donald fiercely opposed the heritage listing of his Adelaide home and a multitude of other plans aiming to cash in on his name.
The two-storey, red-brick house at Kensington Park, in Adelaide's affluent eastern suburbs, was initially recommended for state heritage listing in 1987.
But the recommendation was dropped after Sir Donald objected.
In a letter written three years before his death, Sir Donald said: "At 89 years of age, I am not prepared to exist just to satisfy the autograph hunters' requests.
"People just seem to want my signature before I die".
Such was the angst of Sir Donald that in 2000, the federal government made changes to the Corporations Law regulations, specifically to prevent anyone using his name to suggest a connection that did not exist.
But an Adelaide council is again trying to heritage list the cricket legend's home in a move that has drawn criticism from The Don's supporters.
Burnside City Council said Sir Donald's home met the heritage-listed criteria and was a worthy listing.
"Certainly, Sir Don Bradman was against it being listed because of his privacy issues and that sort of thing and that's understandable," council chief executive officer John Hanlon told ABC radio today.
"However, we have now decided to list that property and, I might add, we haven't received any objections from the family in relation to that.
"It really comes back to what the criteria is for local heritage significance and that centres around the fact that it has either a social importance, it has a place of importance or it's important because of a notable local personality - I guess The Don certainly fits that description."
Sir Donald's granddaughter Greta Bradman said the family accepted heritage listing of the home was inevitable.
"I can understand grandpa not wanting to have the house on the list, not wanting people coming around while he was living there," Ms Bradman told Adelaide's Eastern Courier Messenger newspaper.
"I think it was a mark of respect to grandpa - to both of my grandparents - to keep the house off the list while they were alive.
"But yes, we knew it would be inevitable."
Sir Donald and his late wife Jessie moved to Kensington Park from Sydney in 1935.
Sir Donald died at his home on February 25, 2001.
Bradman Museum director Richard Mulvaney said he was in favour of the heritage listing.
He said the property was a rare example of homes built in Australia in the 1930s and the Bradmans had considerable input into its development.
"This was the home where they spent a significant period of their lives and just for that reason alone I think it is appropriate that it be recognised in this way," Mr Mulvaney said.
He said such a listing would also bring the property into line with all other houses associated with The Don, including the original Bradman family home in Bowral.

subset: commoncrawl


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It is wise to have a safe deposit for your jewelry and important documents, including jewelry appraisals, etc., but even wiser to keep copies of those documents in another place. There have been many occasions in which I have acted as an expert witness, developing hypothetical appraisals for clients whose boxes had been burglarized, and not only is the jewelry gone, but so are the identifying documents!
It is very difficult preparing a list of the missing items for a police report, trying to remember what you had and what they contained, but more difficult proving to the insurance adjuster that you actually possessed them and are worth what you remember them to be. The appraisals should have photos as well. If not, take your camera and take photos of all of your jewelry — and why stop there? Take them of all of your personal property. You may thank your lucky stars some day that you did, not just for burglaries, but for fire and water damage. And remember to update your appraisals every three years.
Cos Altobelli is a third generation jeweler and president of Altobelli Jewelers in Burbank, previously located in North Hollywood for 60 years. His specialty is appraising for all functions and acting as an expert witness.
He holds a graduate degree from the Gemological Institute of America and the title of Certified Gemologist Appraiser, from the American Gem Society, is the author of three appraisal books, and has appeared on "Prime Time Live" several times.
Mr. Altobelli can be reached at (818) 763-5151.


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Everyone should know how to cook risotto. The name itself scares many people. But risotto is not difficult to make. All it takes is a heavy skillet, a burner, a spoon, and some rice and broth. Start to finish, a perfect risotto takes only about half an hour to make.
Here's where I insert a confession. I have always made risotto with long grain white rice. Now, I know that to purists and Italian connoisseurs, this is heresy.
When I first started making risotto 25 years ago, I could not find arborio rice. This was well before the internet and on-line food ordering. I did wonder what I was missing by not using arborio rice. So last weekend I bought some arborio rice and made risotto. I like long-grain rice better.
Yes, the risotto with arborio rice was creamier. But it also had a starchier taste that I just did not like. And arborio rice is so much more expensive than regular long grain white rice! The choice is yours. But I'm going to continue using long grain white rice, content that I experimented and reached my own conclusion!
To make the perfect risotto, please read the aptly named How to Make the Best Risotto. The secret, actually, is very simple. Keep stirring. The stirring action helps the rice release starch as it cooks, which makes the risotto creamy. And rice has a tendency to sink to the bottom of the mixture and stick to the bottom of the pan.
So keep it moving.
I even have a recipe for baked risotto, which is stirred too, but just twice. If you don't want to stand over the stove, that's the recipe for you!
Enjoy these easy risotto recipes. And once you know how to make a risotto, use your own favorite ingredients and create your own masterpiece.
Easy Risotto Recipes
- Chicken Risotto
This was the first risotto recipe I ever made, and it's the one I turn to when I want some truly comforting comfort food.
- Pressure Cooker Risotto
For this recipe, you really should use arborio rice. A medium grain rice might work just as well. This easy recipe is foolproof.
- Curried Risotto
I love curry powder, so why not add it to risotto? The curry adds fabulous color and flavor to this simple vegetarian dish.
- Tuna Risotto
Tuna, fresh spinach, and a bit of lemon add fresh flavor to risotto. You could also use canned salmon, drained and flaked, in place of the tuna.
- Baked Risotto
Baking the risotto in a hot oven, after the mixture is brought to a simmer on the stovetop, is a super easy way of making this delicious dish. You could add anything from peas to chopped cooked chicken to ham to this easy recipe.
- Traditional Risotto
This is the classic recipe; no shortcuts. Just results.
- Crockpot Risotto
When you think about it, the low, slow heat of the crockpot is the perfect way to make risotto. This recipe turns out very smooth and creamy. And it's so easy.
- Sausage and Vegetable Risotto
I made this delicious risotto using chicken sausages with sun-dried tomatoes and garlic. It was just spectacular.
- Mushroom Risotto
Two kinds of mushrooms add wonderful flavor to this creamy risotto. Shallots instead of onions add a milder flavor and let the mushrooms shine.


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Shopping Spotlight: Favorite Plus Size Swimwear!
16 comments:
I bought the #1 in red polka dot... you can buy it cheaper on esther-william's website... esther-williams.com or something, she designed the suits for Modcloth.ReplyDelete
i think I may buy the #4 from ASOS.
- @naija1908April 16, 2011 at 7:33 AM
yesss to the forever 21 #3 and #9 i remember that from last season but i never got it because i thought it was too costly..:( well i think its worth it now!ReplyDelete
This comment has been removed by the author.ReplyDelete
I love them all by 1 and 9 are my fav:)ReplyDelete
No 5 is my fav. But $144 for a swimsuit no way.ReplyDelete
I love your choices! I love #9 & #2. I purchased a Monif C. swimsuit this year, the Monaco in black, and I really wanted to purchase more but had to reign myself in. Once I receive the Monaco and know if it fits, I might have to get #9.ReplyDelete
Loooooove #9 and my girl Fluvia is rockin' it!!ReplyDelete
I love all things Monif C....Great selection in colors.ReplyDelete
S Nicole
Here in Australia, I buy jets swimmers. They're amazing quality and go up to an australian size 18. They're more on the expensive side (between AUD$120-200) but so worth it if you're wearing them for a few years!ReplyDelete
I really love Monif C's suits and I am saving my pennies for one right now! I bought a great suit from torrid in February that I love. Leopard print! So much for trying to be inconspicuous at the beach! Love it! I'm gonna rock it all summer long. I did a swimsuit post too back in February. You guys should take a look. www.curvycanadian.blogspot.comReplyDelete
I also have an issue with finding a great bathing suit because of my chest. I usually have to pay a lot more for a suit to actually cover and provide support for them! I typically buy mine from Victoria Secret!ReplyDelete
I have the #4 aka the asos swimsuit and it's really lovely. The flowers are cuter in real and it have good support. You should go for it.ReplyDelete
I love the #9 too but i can't afford Monif C so i will have to dream about it haha
I really love Monif C's line, she has really raised the bar!!! Love her suits!ReplyDelete
I love to buy my suits from www.alwaysforme.com and I love the ones from Old Navy too. They are always really cute and stylish. And thanks for posting this because I was just about to ask could you post a swimsuit blog. LOLReplyDelete
- AnonymousApril 20, 2011 at 5:47 AM
Ok, this is the most unlikely place (at least for me), but...Walmart. Seriously. I got a link from another blog (can't remember which), for a swimsuit that I hated, but luckily I had ordered 2, and I LOVE the second one. It's "Suddenly Slim by Catalina - Women's Plus Solid Shirred Swimsuit". I got it in red, and it came a few days ago. Seriously gorgeous, I feel like a pinup in it! Try it! I am now going to order the other colors...lolReplyDelete
i love the polka dot one-piece! i'd love something just like it, makes me think of pin up girls.ReplyDelete


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Search Content
Here's how an asteroid impact would kill you
It won't be a tsunami. Nor an earthquake. Not even the crushing impact of the space rock. No, if an asteroid kills you, gusting winds and shock waves from falling and exploding space rocks will most likely be to blame. That's one of the conclusions of a recent computer simulation effort that investigated the fatality risks of more than a million possible asteroid impacts.
In one extreme...
Science & the Public
Growth-promoting antibiotics: On the way out?
In 1950, Science News ran a story showing for the first time that a potent antibiotic could do more than knock out disease. New animal experiments, we reported, "cast the antibiotic in a spectacular new role" as a livestock growth promoter. Lacing the food of hogs with trace quantities of this drug increased meat yields by up to 50 percent, scientists at Lederle Laboratories had reported at a...
E. coli evade detection by going dormant
Researchers think they now know why a particularly virulent form of E. coli that swept through northern Germany last May was so hard to trace: The germs responsible eluded detection by going into a self-induced deep sleep.
Two new studies show that when stressed, E. coli can turn off most signs of life. That's a problem for food-safety officials because their germ-screening...
Obesity messes with the brain
Obesity subtly diminishes memory and other features of thinking and reasoning even among seemingly healthy people, an international team of scientists reports. At least some of these impairments appear reversible through weight loss. Researchers also report one likely mechanism for those cognitive deficits: damage to the wiring that links the brain's information-processing regions.
Big Fishing Yields Small Fish
Sharks, billfish, cod, tuna and other fish-eating fish — the sea's equivalents to lions on the Serengeti — dominated the marine world as recently as four decades ago. They culled sick, lame and old animals and kept populations of marine herbivores in check, preventing marine analogs of antelopes from overgrazing their environment.
But the reign of large predators now...
PCBs may impair fertility
PCB exposure may interfere with a woman's ability to get pregnant, a new study of women undergoing in vitro fertilization suggests. The study of 765 women found that those whose blood contained the highest levels of a particular form of polychlorinated biphenyl — one known as PCB 153 — were 41 percent less likely to give birth than women with the lowest levels.
One contributing factor...
Mice robbed of darkness fatten up
When it comes to weight management, the timing of dining is pivotal, a new study indicates. At least in rodents, food proved especially fattening when consumed at the wrong time of day.
As nocturnal animals, mice normally play and forage at night, often in complete darkness. With even dim chronic illumination of their nighttime environment, however, the animals' hormonal dinner bells...
Science & the Public
Coffee perks up memory and balance in geriatric animals
CHICAGO Millions of Americans start their day with a cup of coffee and then reach for refills when their energy or attention flags. But new research in rats suggests that for the aging brain, coffee may serve as more than a mere stimulant. It can boost memory and the signaling essential to motor coordination.
But here's the rub: If the same effects hold for humans, downing a morning...
Salty Old Cellulose: Tiny fibers found in ancient halite deposits
Researchers have unearthed the planet's oldest-known intact biological macromolecules, microscopic bits of cellulose from 253-million-year-old salt deposits in the southwestern United States.
The remarkable preservation of the material suggests that under the right conditions, cellulose could last more than 1 billion years. Such a long-lived molecule, a chain of simple sugars,...
Power from heat
The thermoelectric effect can produce small amounts of electricity from almost any source of heat, but its low efficiency has so far limited its uses. A team has now found a simple way to make one thermoelectric alloy more efficient.
When two ends of a stick of a thermoelectric material are exposed to different temperatures, a voltage appears. The electrons in the stick act like the...


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ECONOMISTS this week grappled with one of the trickier sets of data on their calendar, the quarterly survey of business investment plans.
Projections tend to underestimate final outcomes but to a variable degree.
But based on the average experience of the past five years, Westpac's Andrew Hanlan said capital spending - capex, as economists call it - is likely to fall by 6.5 per cent in 2014/15 after a smaller drop in 2013/14.
Within that, he said, the 2014/15 outcomes would be falls of 19 per cent for mining and 23 per cent for manufacturing, but a rise of 15 per cent for other sectors - services industries - covered by the survey.
"Manufacturing is feeling the impacts of significant structural change associated with the still relatively high currency," Mr Hanlan said.
The outlook for the services sector had improved since the first survey for 2014/15 three months ago - this was the second - but was still uncertain.
"Of particular concern is the retreat of consumer sentiment over recent months, which appears to be translating into some loss of spending momentum heading into Q2," Mr Hanlan.
Commonwealth Bank economist John Peters said the upgrade for non-mining sectors was critical.
"This is a big positive for the Australian economy and is further evidence that the growth transition from mining to non mining led growth is gaining traction," he said.
St George Bank economist Janu Chan also looked on the bright side.
"Despite the weak headline result, the detail is providing an encouraging sign that the baton of growth drivers is changing hands from mining investment to other parts of the economy," she said.
HSBC's Paul Bloxham said the figures showed the economy was "rebalancing".
"We remain of the view that the Australian economy will manage to transition from mining investment led growth to non-mining led growth without a significant downturn," he said.
But nothing is certain.
Su-Lin Ong, economist at RBC Capital Markets, said the figures suggested the "capex cliff" might not be as steep as expected.
"But we worry that further declines in key commodity prices, a setback to business confidence post the 2014/15 budget, and a moderate demand environment may keep plans under pressure," she said.
UBS economists Scott Haslem and George Tharenou were cautious.
The second estimate in the survey cycle for 2014/15 was down by 12 per cent from the second estimate for 2013/14 published this time last year.
If the plans for 2014/15 are adjusted following the same path as plans were for 2013/14, then investment will also fall by 12 per cent.
That would mean no "soft landing", Haslem and Tharenou said.
Normally, the final outcome would beat the second estimate by 10 to 20 per cent, but capex in 2013/14 looks set to end up only about two or three per cent above the second estimate.
According to the UBS team said, "an ongoing upgrade cycle in line with the historical pattern is needed to avoid a 'capex cliff'."
Originally published as Economists focused on capex this week


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JIVE Brand Tibetan Singing Bowl For Healing & Meditation Om Mantra Design With Mallet, Velvet Cushion & Meditation Bracelet
The healing sounds resonating from this handmade singing bowl is pure and powerful in centering the mind, body and soul. Experience the sacred sound of Om as rich sonic vibrations awaken a beautiful and powerful mystery within you and alter space, mind and time. Used for yoga, meditation and sound therapy and Reiki,
(as of July 26, 2017 10:23 pm UTC - Details) + Add To Shopping List


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Give your child a birthday to remember - celebrate at Life Time
Fitness! Life Time Fitness offers a fun-filled afternoon or evening
for your child's...
The Rehabilitation Institute of Chicago (RIC)Spine & Sports
Rehabilitation Center at River Forest is a complex which houses a
staff of physicians,...
Outpatient mental health clinic specializing in treating
children and their families. We also provide parenting seminars and
parent consultation.


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Explorer of the Seas - Eastern Caribbean: Explorer of the Seas Cruise Review by Carol Angora
Overall Member Rating
Explorer of the Seas - Eastern Caribbean
Destination: Eastern Caribbean
Embarkation: Miami
Embarkation was a breeze, we got to the airport early. (We booked our air transportation on our own and flew down the day before.) The ship was the best we have ever been on. This was our ninth cruise, the second one with Royal Caribbean.
We booked an inside cabin which was very nice. Plenty of room for all the clothes we packed. I wasn't sure if we would run into bad weather, so we packed everything, just in case. What I liked about the room...to close the safe, you punched in a 4 digit code instead of using a credit card, like on some of the ships. That way, we didn't have to worry about losing a credit card on the ship. The room was very comfortable and quiet. We were able to access our shipboard account on the TV which made it nice to keep track of expenses. The cabin steward was a really nice Phillipino who More took exceptional care of us.
The food was fantastic. We had a small table, which I prefer, with 2 other couples. I think we put on a few pounds just from dinner. The food on the Lido deck was very good, also. Good variety. We also tried the room service one night after dinner. Also very good. Also, try Johnny Rockets. It's like a 50's diner, really cool. The only thing you pay for is the milk shakes at $3.50 each, but it's worth it. Also at the Promenade Cafe, they are open 24 hours for pizza and sandwiches. The sports bar was also fun. If you buy a bucket of beer, they give you a really nice ice bucket, opener and shirt for free.
They also have parades on the Promenade. And there are all kinds of things going on there. The pools were very nice. And the hot tubs were the biggest I've ever seen. You can fit 15 people in each one comfortably. What I liked about them....they are open 24 hours, not all ships do that. And they serve alcohol in the pool and hot tubs, again, not all ships allow that. If you want to get away from all the noise, the solarium pool and spas is the way to go. Public rooms were very clean, the only problem is trying to find them, but that's a problem on every ship. They kinda blend in with the other decor.
We missed the shows except for the ice skating show, which was wonderful. We went to the art auctions. What I liked about them....every cruise we have been on, they always send the information about the art auctions to the cabins and on the pamphlet it always say that they give every person a free work of art worth $95 just for attending each session. This was the first cruise when they actually gave away these prints. Every other one we went to on other ships, they would have a drawing and that was all. So we ended up getting a lot of nice art for free, also one two pieces in the drawing and purchased another one.
We stopped at San Juan first. It was ok, nothing to write home about. They tell you the shopping is within walking distance but, trust me, take a taxi. It's a long, long walk and when it's hot out, it's not pleasant. The usual tourist souvenirs can be found there. We decided not to waste our money on that stuff. Next we stopped at St Maarten. We did the Afternoon Beach Bash from the ship. It was well worth it. It went to Orient Beach which is an optional clothing beach. Some people were nude, most people were wearing something. It was $36 a person but I didn't mind paying it. It's open bar all day, they have a beach chair for you and if you went there on your own, it would cost $18 one way cab fare, then you have to worry whether or not a cab would show up later to bring you back. Really clean, beautiful beach. We also did some shopping in St Maarten. There are some nice shops. Next we went to St Thomas. There is an outlet mall with in walking distance from the ship with lots of little shops selling unique things. Don't waste your time going into town. The merchandise you see there will be the same stuff you can get in the outlet mall. After shopping, we did the afternoon Catamaran Sail & Snorkel from the ship. We went to Buck Island. The snorkeling was great and the catamaran was not crowded, which was nice. That excursion also included snacks and open bar.
After that, we had a day at sea, which was nice because we needed a rest. We were supposed to go to Nassau after that, but the hurricane also had the same idea, so we missed that port. Too bad, we so wanted to Atlantis. Oh, well. So they announced we would have another day at sea, instead. But on Saturday night, the Coast Guard closed the ports and the airlines were also closed due to the storm, so we ended up staying on the ship an extra day. Which would have been fine except, we had to reschedule our air reservations and it was impossible to get a phone line out with 3,700 people trying to call out. Cell phone couldn't get a signal so I ended up spending hours in the internet room trying to reach somebody who could rebook my air for me. The Delta website wouldn't let us do it on line. They were saying to call for rescheduling. Finally, I reached somebody back home and she was on hold with Delta for an hour before she could get through.
We took the only flight out to Las Vegas on Monday, which was delayed because our pilot was coming in from Atlanta, and the planes were grounded. It was a mess. We spent 14 hours in the airport. People were sleeping everywhere in the chairs and on the floor. Overall, this gruise was wonderful and like I said we got really lucky with the weather, but even if we were stuck on the ship the whole time, we would have still had a great time.
Also, we always tip well, but my personal feeling is that when the tip is not automatically added on to the bill, the staff does a better job at pleasing the guests. If you do take a cruise, you won't be disappointed with this ship. Less
Published 10/02/04
Cabin review: Q7513 Interior StateroomInterior Stateroom (Q) Reviews >>
Read Cruise Critic's Explorer of the Seas Review >>
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Cruising the seas with RC on t...
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Hard beds and terrible food!
A pleasant but average cruise ...
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First visit to Habana, Cuba
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AFP - Dominique Strauss-Kahn will not plead guilty to even a minor charge to reach a plea deal in the sexual assault case against him, the former IMF chief's defense team said in Thursday's New York Times.
Dominique Strauss-Kahn will not plead guilty to even a minor charge to reach a plea deal in the sexual assault case against him, the former IMF chief's defense team said in Thursday's New York Times."Mr. Strauss-Kahn will not be pleading guilty to anything," William Taylor, one of his lead lawyers, told the newspaper. Taylor spoke after he and defense attorney Benjamin Brafman met Wednesday with Manhattan prosecutors in a session they described as "constructive."Taylor also said they did not discuss a plea bargain in the case at the meeting.
PARIS — Former International Monetary Fund chief Dominique Strauss-Kahn will have to defend himself in a French court on charges of aggravated pimping despite recommendations by prosecutors that the charges be dropped.
Judges investigating the case in the northern city of Lille decided on Friday to go ahead with charges of aggravated pimping in a group.
AFP - Prosecutors
Lille (France) (AFP) - A French court will rule Friday on whether ex-IMF chief Dominique Strauss-Kahn is guilty of pimping charges after a trial which exposed lurid details of champagne-fuelled orgies and prostitution.
Lille (France) (AFP) - The pivotal character in a French prostitution ring that landed former International Monetary Fund (IMF) chief Dominique Strauss-Kahn in court for "pimping" will be the first to take the stand Tuesday in the trial.
Welcome to the AFP Live Report for Friday on a surprise US court hearing on the sexual assault case against former IMF chief Dominique Strauss-Kahn. 1455 GMT: Strauss-Kahn walks into a New York court for a special hearing in his sexual assault case, amid revelations that charges against him were unravelling on doubts about his accuser's credibility. He is accompanied by his wife, journalist Anne Sinclair.
SHOCK news today from New York:
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In October of this year I was diagnosed with breast cancer. Invasive lobular carcinoma is what it is called. I was in total shock me having breast cancer. There were no warning signs at all never was sick nothing to let me know I had cancer. I found it myself while on vacation Labor Day week. After all the tests then it was finding doctors for my condition. I found a great surgeon who gave me the bad news that this cancer had invaded my whole breast and had spread to my lymph nodes. My whole beast had to be removed as soon as possible I had no time to wait. I should of had surgery yesterday the doctor told me.So I had read where you could have reconstruction done at the same time as you lost your breast. So this is how I met Dr T my surgeon said he knew someone who might could help me. So he set up an appointment with us and I met her on a Friday my surgery was on the next Wednesday. Time was of the essence for me.
Dr T and I talked and I asked her please could she help me because I just couldn't lose my breast without the reconstruction done at the same time that was the only way at the time I could deal with losing apart of my body and dealing with the cancer at the same time.I needed the reconstruction started .There was a condition I had to stop smoking cigarettes which I did as soon as I left her office I have not smoked since. I had smoked for twenty years and she was the only one to get me to quit and for good. I really wanted her to be my surgeon.She gave me all of the pro's and con to this kind of surgery and that she could do this and I would be just fine. And I was and I still am.
The day of the surgery I was emotional I was losing apart of my body but also the beginning of a new and better breast than I had before. My surgery was only suppose to be five hours it turn out to be nine and half hours. There was more cancer in my lymph nodes than they thought so it went longer . From 1:00 pm util 9:30pm was my surgery. I got back to my room around 11:30 pm I remember see Dr T and I said you wait for me. I know she was tired but she wanted to make sure I was alright. I just stared to cry because I am so grateful to Dr. T for every she has done and said to me during this difficult time.
My reconstruction is just great we are not finish yet but I just love the way it is turning out I had no problems at all no side effects nothing.All I can say is that it has been outstanding work I am so please with the out come of this I can't wait to see the finish one. I am just starting my chemo but after that we will be finishing my reconstruction.


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Connect Plus keychain adapter has micro USB, Lightning connectors
Echo's Connect Plus is a "Y"-shaped USB connector with a standard USB connector on one side, and both a micro USB and Apple Lightning connector on each arm. This allows both Apple devices and gadgets that use micro USB to be charged without carrying around separate compatible cables, and the addition of flexibility means it can be re-adjusted and bent to work with different gadgets that might have unusual port placements. In addition, the device is small enough to fit on a keychain, and includes a keychain loop.


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For a single author site, establishing Google Authorship requires three basic steps:
- On Google+, identify and copy your Google+ Profile Link's unique number
- Paste the Google+ Profile Link number into Thesis Admin → Site → Google Authorship
- Return to Google+ and create a Custom Link to your site that verifies reciprocal Authorship
The video below will help you navigate through the steps involved:
Comprehensive set of steps for Google Authorship verification, including steps for a multi-author site:
- Login to Google+ and click the small arrow to the right of your image avatar
- Click on the blue View Profile button
- Identify only the numeric portion of the URL in the address bar of your Google+ Profile Link
- Copy the unique number from the URL
- For Single-Author sites, paste the Google+ Profile Link number into Thesis Admin → Site → Google Authorship
- For Multi-Author sites, visit WordPress → Users → All Users. Edit each User who is a Contributor to the site, add the User's Unique Google+ Profile Link to their WordPress User Profile page, and then click Update User
- Return to Google+ to create a Custom Link that reciprocates and verifies the Authorship for each Contributor on your site.
- To confirm Authorship is successfully connected, enter your site's URL into the Google Structured Data Testing Tool.
Helpful Resources:
- Information on finalizing Authorship via the reciprocal link from a Google+ profile to your Thesis site.


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Although outdoor tanning allows humans to absorb the sun's natural energy, the sapped star will eventually turn pale and suffer the fate of Earth's original sun, the moon. Save the sun with this Groupon.
Choose from Four Options
- $10 for 1 spray tan (a $30 value)
- $15 for 10 level-1UV tans (a $50 value)
- $18 for 2 spray tans (a $60 value)
- $32 for 4 spray tans (a $120 value) <p>
Ashley Lynn's Tanning
The trained staff at Ashley Lynn's Tanning welcomes first-time and returning clients to quality bronzing beds and UV-free VersaSpa tanning booths. The full-body and facial bulbs in tanning beds of various levels speed skin to all-over darkened shades in minutes without the hassle of canning sunbeams for the winter. Staff members swap out each lamp halfway through its lifetime, ensuring tanners won't endure weakened wattage during their session. Alternatively, the studio's VersaSpa spray-tan booth comforts tanners with an open design and an air-filtration system as they customize their 10-minute sessions by selecting either clear spray-tanning or bronzer-tanning treatment. Each treatment achieves maximum color after 8 hours, and the booth also helps to moisturize skin.


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Recommended trans fluid - 6 Speed
I'm making a pre winter to-do list, one of the things on my list is replacing the transmission fluid in the 6-speed. What do you guys recommend for fluid? Brand? Weight? How much will it take?
Just curious if there's something better than what BMW would recommend.
Redline d4/MTL 50/50 mix.
What's the reason for mixing them, if you don't mind me asking?
Regular MTL gets really thick in the cold. Mixing it with ATF helps that issue. Also, ATF has a lot of extra detergents and stuff to help keep the internals nice and clean.
I use RP synchromax in mine and it gets pretty thick in the cold, I plan on changing to the mixed method when I change the fluid next.
Oh, makes sense. Glad I asked, as I'll be driving it through the winter. Thanks!
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... Mar 2012
Thank you Sara Beth! It was insanely fun to do and the 4 yo clients where apparently pleased <3.
view all »
© 2011-2017 CakesDecor.com. All Rights Reserved.
DISCLAIMER: Any posts on CakesDecor.com (CD) are posted by individuals acting in their own right and do not necessarily reflect the views of CD. CD will not be held liable for the actions of any user.


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Auckland Music Teachers Receive Morale Boost
10 October 2013
Auckland Music Teachers Receive Morale Boost
In an effort to boost teacher morale, X Factor host Dominic Bowden partnered with the Aotea Youth Symphony to celebrate Auckland's Most Noteworthy Music Teacher.
Nearly 1000 students voted in an Aotea Youth Symphony-led competition for their favourite teacher with Mrs Ronnie Karadjov of Marist College claiming the inaugural award.
Mrs Karadjov is thrilled that Aotea Youth Symphony recognises her work.
"Sometimes I ask myself – does it have to be this hard? And then I catch that sparkle in my students' eyes. Then I know it is worth the effort, because what we do leaves a trace. What we do is in fact noteworthy."
Bowden, who played the clarinet in the Aotea Youth Symphony, says that he owes a lot to the symphony his former music teachers.
"My music teacher and the Aotea Youth Symphony really shaped my career. I'm sure that anyone who has a kid who enjoys music knows how important it is to have people to encourage them."
Mrs Karadjov received prizes valued at over $1000 sponsored by KBB Music and the Lewis Eady Charitable Trust.
Aotea Youth Symphony was formed in 1986 and has been conducted by Paul Harrop since its inception. It has about 65 members from the ages of 12 to early 20s and is always searching for new talent from players at Grade 5.
About Aotea Youth
Aotea Youth Symphony (AYS) was formed in 1986 after a community meeting in Mount Albert, Auckland. It was created to provide Auckland youth with an opportunity to grow as musicians and receive valuable performance experience.
Although initially called the Mount Albert Youth Symphony, the orchestra soon attracted youth from all over Auckland and so the name was changed to Aotea Youth Symphony.
From its beginning AYS has been led by music director Paul Harrop. Members are grade five or above in their chosen instrument.
AYS performs several times a year at diverse locations, including on board the QE II and at the Sydney Opera House. The orchestra also tours internationally every two years. Previous location tours include Australia, Japan, Canada, USA, Germany, China and Tahiti.
For more information, visit www.aotea.org.nz


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Five Ways Entrepreneurs Can Keep a Great Corporate Culture
SHARON HADARY: It is great when your company takes off, but it is so easy to focus on the growth and then realize that the culture that created the growth is cracking. Here is what entrepreneurs whose companies have surpassed $50 million and are still growing tell me.
- Know your values: Your values are your core. Have the courage to act consistently with your values in every decision and action.
- Own your company's culture: Successful leaders create shared values, vision, mission and goals. You can delegate everything else but you must always hold the culture in your hands.
- Hire people whose values align with your company's culture and who believe in you as an entrepreneur: Research shows that no matter how smart and experienced a new hire is, if the individual's values do not align with the company's culture, overall productivity will go down.
- Build high-performing teams: Show people you value and trust them. Share the goals, engage everyone in delivering the highest performance — then step aside and let them perform.
- Take a break from growth: Continually evaluate internal infrastructure and operations. While fast growth is very good, growing faster than your infrastructure can handle it can be problematic. Have the courage to pause growth if necessary while the company re-engineers its systems, policies, and procedures to accommodate continued expansion.
Sharon Hadary (@hadaryco) is the founding and former executive director of the Center for Women's Business Research, an adjunct professor in the doctorate of management program at the University of Maryland University College and has co-written the book, "How Women Lead: The 8 Essential Strategies Successful Women Know."
Read the latest Small Business Report.


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While the big end of town has been reasonably quiet for mergers and acquisitions in the past year, a battleground has been forged in the middle market, a space the big four accounting firms traditionally dominate.
Interest in the middle market by big investment banks, which largely vacated the space prior to the financial crisis, has again piqued as they try to keep their M&A practices chugging along.
And the big four firms are no longer the conservative shrinking violets they once were. They are clawing their way up into big deals of more than $500 million, often in the role of lead adviser.
Merger and acquisitions teams of big four firms and investment banks may rub shoulders more often as both converge on the middle market in search of deals.
Normally, big investment banks steer clear of sub-$500 million opportunities, and big four firms could expect to come across investment banks fossicking around these deals, preferring to chase multi-billion dollar mandates.
Merger and acquisition activity was decimated in 2008 and began to recover in the second half of 2009 but multi-billion dollar mandates remain elusive. At the same time, the expected volume of assets to be sold through restructuring or insolvency processes did not materialise.
While the consensus is that deal flow will improve considerably as the year progresses, activity will nowhere near approach pre-crisis levels either in average size or number of deals.
There are signs that KPMG and Ernst & Young are pushing up into investment bank territory. KPMG partner Rob Bazzani says it's not out of the question. Obviously the firm is constrained by its lack of a balance sheet, but it can easily play a lead advisory role if it pairs up with a bank.
KPMG did exactly this when joined forces with JPMorgan to advise grain handler
Moments before the Christmas break, KPMG took a super-size mandate to itself, advising Easternwell Group on a $3.56 billion bid from Australian Drilling Solutions.
Ernst & Young's biggest reported deal involved advising Nippon Paper Group on its $460 million bid for Paper Australia, for which it teamed up with Japanese bank Mizuho.
Deloitte piggy-backed off a number of behemoth investment bank-led deals, such as when it joined UBS and Grant Samuel on Canada Pension Plan Investment Board's $4.98 billion purchase of
"Deal size is not something that we spend much time focusing on," Deloitte partner Ian Thatcher says. "There are certain economies of scale in serving large size transactions. That said, our staff enjoy working across a range of sectors and industries irrespective of deal size."
KPMG handled 26 transactions as lead adviser during 2009, the most of any big four firm, while Deloitte advised on 21. Ernst & Young and PricewaterhouseCoopers had a quieter year, advising on just seven and five deals respectively.
The big four firms say their sweet spot lies in deals with price tags between $40 million and $500 million. In a market dominated by overseas investment banks and a handful of powerful boutiques, the big four have had to be creative in positioning their M&A practices.
Without banking licences and capital backing, it is difficult for big four to chase multi-billion dollar deals such as
M&A teams at big four firms are a close-knit bunch nestled within a broader practice that provides an array of specialist transaction support services including due diligence and independent expert's reports.
PricewaterhouseCoopers has eight partners and 45 staff, Ernst & Young has nine partners and 33 staff and Deloitte has nine partners and 45 staff. KPMG would not disclose partner or staff numbers.
The firms are well-known in the market for providing valuation advice on transactions, including independent expert's reports. But firms do not measure themselves in terms of the work they undertake in support of larger corporate transactions. It's all about being the lead adviser.
"Generally we're running the whole show," KPMG's Bazzani says. "We have worked with investment banks on transactions on IPOs where a couple of banks are doing the book."
To get into this lucrative game, there is no ground more fertile for a big four firm than its tax and audit clients. These practices handle remarkable amounts of repeat business. Audits are required year in year out without fail and companies need advice to lodge tax returns or navigate through run-ins with tax authorities. Large private networks of family companies and many listed companies count at least one big four firm as a trusted adviser.
Firms have become adept at mining their client databases for M&A leads. More often than not, when clients want to expand by acquisition or fight off a hostile bidder, the trusted adviser is the first port of call.
"Our strategy is to source most of our leads from existing relationships, so ideally we would get 70 per cent from internal network," PricewaterhouseCoopers partner Tom Fenton says.
It's not a free for all, however. Firms must tread carefully around strict conflict of interest rules, which prevent them from taking on valuation-related work on an audit client where there could be a perceived issue with the auditor not being independent from the sale process.
Generally firms are able to receive a waiver for directors in private companies which they audit, but have to rule out working for listed companies that are also audit clients where there is a success fee charged based on the outcome of the sale process.
"In a listed environment, it's much more difficult because you are dealing with shareholders you don't know so it's harder to deal with the perception of independence," Ernst & Young's national leader of mergers and acquisitions John Allerton says.
But this client profile – often large family-run entities looking for a succession plan – offers few opportunities for repeat work.
PricewaterhouseCoopers partner Tom Fenton says private equity firms are the exception to this.
"The repetitive deal doers are predominantly private equity – a dozen or so middle-market funds. Most of the other clients, whilst they're clients of the firm, strong tax, audit or consulting clients, might not do deals regularly," he says.
Allerton says they must pro-actively pitch for work to established clients and it's not enough to sit around and wait for the telephone to ring. "We might get asked to pitch on a sell side opportunity and not get the mandate but still have learned a lot from that experience so then we go and pitch to companies on the buy side," he says.
The ability to refer clients to other parts of the practice is a crucial selling point for any big four firm. "Investment banks might offer M&A which comes with some dollars, but have to outsource everything else. Ultimately there has to be someone responsible for overall project management," KPMG's Bazzani says.
This means jobs are staffed with a higher proportion of senior people than boutique advisory groups would use, he claims. "We don't have a pyramid structure but you might have one partner for six to 10 staff. Below you might have a couple of directors, associate directors and research analysts. Boutiques have an hourglass: heavy at the top and bottom and thin in the middle."
M&A teams were knocked around during the financial crisis. Firms resisted laying off staff where possible to avoid a brain drain when the economy recovered. Staff were instead shunted off to busier parts of advisory practices, and particularly into corporate recovery.
Ernst & Young's Allerton says his M&A team remained close-knit throughout the crisis, but other transactions support staff were loaned to corporate recovery. "From an M&A perspective, our activity levels have stayed reasonably strong but the volume of deals has dropped off."
The big four firms are all local branches of giant global organisations, and are on the ground in just about every country. Big investment banks' global networks are similarly expansive.
"We can deploy our whole global network quickly to find a buyer whereas the boutique just is unable to do that. They're more focused on helping the client get the deal done whereas we're also focused on getting the right buyer for the client," PricewaterhouseCoopers' Fenton says.
That said, boutiques such as Caliburn and Lazard are frequently hired to act on major transactions to provide strategic advice, often alongside major investment banks.
Big four firms expect stiff competition from one another and from the banks as they race to snare a slice of the considerable amount of M&A work expected to be on offer in 2010.
Banks should expect to find big four firms bidding on advisory roles in connection with the NSW and Queensland government asset sales. KPMG says it is involved but will not say on which asset.
E&Y's Allerton says the current earnings reporting season will provide a litmus test to gauge whether various industries such as retail are ready for a round of consolidation.
"The market is choppy right now – waves aren't falling cleanly or neatly but there's a lot of movement around. It isn't being helped by vendor expectations of what they can get for their businesses, in part due to the rampant sharemarket at the end of last year," he says.
PwC's Fenton says he used last year, when business was slow, as a time to re-group. He split his team along industry and sector lines. "We used 2009 to get people focused by industry which was new for our team. Every senior person in the team now has an origination and execution target," he says.
The Australian Financial Review


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I Sing The Body Electric
2010: Joseph's newly acquired Fender Custom Shop 'Strele-Caster' guitar
In Consideration of The Considerations in
Selecting a New Electric
For those who would know me - though not entirely well - bearing witness
to me sitting in a room with an electric guitar often ushered a response
somewhat akin to the Dylan at Newport metamorphosis.
It's true that I started out as a 14 year old, 'coffee-house folkie' - yes.
And this genesis would, in turn, be the foundation for a future curiosity,
spending much of my time scoring for orchestral palettes in more recent years
- now more mature, more relaxed, more resourced. But how I could go from
an acoustic six-string to a large ensemble of strings would often
prompt a reaction of an increasingly confused bewilderment.
It would, indeed, be The Beatles who opened me up to more expansive possibilities
at a very early age. It wouldn't be 'Eleanor Rigby' so much, with its stringed
octet. Rather, my childhood ear took an instant notice to 'Penny Lane' -
the trumpet obbligato, in particular, loosely based upon Bach's 'Brandenburg
Concerto No. 2 in F' - though I wouldn't come to know that for some years
to come. Still, I do remember thinking at the time, if internally articulated
in a somewhat different way, "Oh they're doing 'grownup music' there." And
they grew the mustaches to match.
Fast-forward the tape to age 14 ... My musical co-conspirator at the time,
Doug Adams, would join me in an 'open-reel' bedroom studio, as we performed
a variety of 'musical experiments' with what we had at hand - literally.
I had just acquired a now-revered Yamaha acoustic guitar as a step up from
a hand-me-down Giannini classical guitar, still remaining in attendance,
on-call for active duty. Doug would drop by with his cheap electric - a red
hollow-body that sported some sort of name on the headstock, but would otherwise
remain nameless. Our 'palette extension' would include an out-of-tune and
wholly unregulated piano - along with a percussion section that included
a set of bongos and some 'tourist-grade, gift shop' maracas. We would ultimately
borrow someone's bass - I don't recall from whom. All of this captured with
low-end, 'garage band' equipment feeding an open reel tape machine. I think
our mic collection may have even included a public address microphone 'disbanded'
from a local supermarket.
I'd be poised with something acoustic, as Doug manned the electric. I was
more folk-based; Doug, a little more Rock 'n Roll - such was our captive
diversity. But all the while, I was hearing yet other things. I imagine Doug
was, as well. But alas, we didn't then have the access to woodwinds, strings,
and horns. We didn't even have a synthesizer at this time. I believe we both
filled in the details, internally.
It was, indeed a time. And for those born unto the analog tape age, you can
greater appreciate one's drop-jawed response to even Apple's home-friendly
'Garage Band' software that now comes pre-equipped on every contemporary
MacIntosh computer. Doug and I would have killed for such multi-tracked,
timbral versatility - if we were even able to conceptually imagine it at
the time, no less in an abstract format or numbers, that would become to
be known as 'digital'.
But through a multi-year musical timeline, I would touch on many forms of
music - inclusive of Pop, yes - where I would often merge, if predictably,
acoustic folk timbres with the orchestral sounds of strings, woodwinds, and
brass ensembles. In time, I was finally able to bring the soundstage I had
imagined at age 14 to realizable fruition (if 'fruition' is every entirely
realizable in the mind of the artist).
And it was here that, for those few listeners who were paying attention,
an electric guitar would sometimes come into play. Most commonly, it would
be used for textural embellishment, rather than the main act. It was this
sporadic and reserved use of the instrument that would lend an overall impression
of it being somehow absent. Or, if consciously heard, it would often be assumed
that I pulled in some studio member of my 'All Live Nude Girl Band' to play
those parts. For Joseph 'going electric' was, again, regarded as being so
Dylanesque, Newport '65 - so out of sorts, it seemed.
But, in truth, I had long played a Fender 'Franken-Caster' guitar. This being
a highly modified, Frankenstein of a Stratocaster electric - if without a
matching pair of bolts in the neck. The guitar would go through so many
'revisions', I kept a healthy stock of blank pickguards at hand as the platform
on which the key electrical components of the Stratocaster would be mounted.
From a variety of pickups, to active electronics nestled within, to a split
stereo output configuration, it would frequently emerge from The Mad Lab
with some new twist - most commonly following a rather nasty electrical storm.
But, like the Frankenstein of Karloff fame, it would be consumed by fire
a few years back - sitting in the wrong place, at the wrong time - with most
of the damage resulting from smoke and water hoses. And while its basic skeletal
form remained, the guitar would not remain play-worthy in the much-revered,
Fender 'Relic' tradition.
But I did still have a notably pricey Gibson Byrdland, hollow-body electric
available to me, sitting back in Massachusetts. While not of a solid-body
character, I reasoned that it would hold me over on the electric front until
I got around to replacing the Stratocaster. It would take me essentially
three years to do so, with so many other projects and prospects on the plate
For several years, with my Frankenstein Stratocaster still actively throwing
children down a well, I would sit at the home of friends who possessed an
earlier design of Leo Fender: The Fender Telecaster. With a genesis that
dated back to 1949, it would be the first production model solid-body electric
- as a precursor to the more 'advanced' and 'futuristic' Stratocaster of
1954. And yet, both guitars live on as standards of this day, always remaining
in production throughout the years - if in a variety of configurations, vintages,
and places of origin.
But the more I played these Telecasters, the more I liked them. Even as it
related to aesthetic considerations, I became increasingly attracted to the
Telecaster. While Leo Fender set out to make the follow-up Stratocaster more
'futuristic', I increasingly saw the Telecaster as more sophisticated. Understand
that, in defiance of conventional perception, sophistication does not imply
greater complexity - it's often quite the opposite. Consider the sleek and
minimalist Jonathan Ive designs of Apple computers against a Windows Tower,
say. So, to my eye, while the Stratocaster was more 'modern' by design, the
Telecaster was more 'contemporary' (and yes, there is a difference
between modern and contemporary).
Even the minimalist, machined control knobs of the Telecaster are representative
of a more sophisticated industrial design - relative to the plastic,
broadcast-style knobs, sporting function labeling and numeric legends - as
found on 'The Strat'.
But all of the above would mean little if - as a musical instrument - the
guitar was lackluster in character or overly confined in its tonal variations.
And it was this very notion that made me increasingly attracted to 'The Tele'.
As what would be a two-coil, two knob design - combined with a three position
switch - the guitar was capable of genuinely useful (as in, musical)
variations. But more than this, over time, I came to realize that amidst
all of the knob-tweaking I would engage in with the Stratocaster, I would
often center in on settings that would resemble - if not replicate - a Telecaster
sound. And, with this, it became clear to me that I could get to my selected
tonal preferences faster on a 'Tele'. This, even with the Tele-specific tweaks
and modifications that resided in my head, if in the academic.
This, coming from someone who - through much of the late 1990s - wondered
just how much a particular electric guitar selection mattered. After all,
with sounds so frequently processed by way of distortion pedals, tube clippers,
and a tall rack of yet other tone-modifiers, you were often left to wonder
if one was listening to a guitar - or rather, an array of 'pedal and rack'
timbres that just happened to be triggered by a six-string instrument - be
it a Fender American Deluxe or an Asian Squire. This notion naturally put
some finger-nuanced, playability issues aside.
But then I thought my sound isn't entirely reflective of their sound,
after all. So yes, the guitar mattered. Still. All of this would conjure
an episode where, upon once engaging an aggressive overdrive distortion mode
with a series of knobs, someone would ask - with a knotted brow, What's wrong
with the guitar?. This, as her daughter sat there in a state of nirvanic
rapture, unable to contain a fiendish smile that comparatively made The Joker
seem catatonic - but there you have it.
Still, applying raunchy dirt to a guitar signal is the easy part. What I
listen for is more elusive - if only as the 'start point': A sound that's
innately clean - yet shy of clinical. A mix of the laboratory, with the sonic
sprinkling of a drugged-out Billie Holiday, say. And, moreover, an effective
way to selectively alter the ratio. For me, the Telecaster was quite capable
of that. And the configuration I chose, in particular, could pretty much
do it in spades ...
With so many different Telecaster variations from which to choose, the selection
process can be potentially daunting. This, not only in terms of configurations,
but also as it could narrow down to individual samples. Indeed, I would also
consider one of the MIM (Made in Mexico) Telecasters as I had a long-held
curiosity about them. This, in part, based upon my readership who is often
interested in more modest offerings within better reach - combined with my
nearly uncontrollable passion for taking the underclass and transforming
it into the upper-crust. It's a perverse hobby, I know - particularly when
you have the cash to just buy a Custom Shop Fender, and screw it. But for
me to really demonstrate the transformation of Eliza Doolittle to My Fair
Lady, I'd probably start out with an inexpensive Squire (the Asian-born Fender)
and take it from there. Then again, perhaps not. I was, after all, principally
seeking my guitar in this instance - not yours.
And yet, as it related to the notably popular Mexican Fenders - as well as
comparative wood selections, I consulted someone who had, over the years,
likely played damn-near most everything going in an electric: Doug Adams
Doug would voice, "I've handled a lot of the MIM Teles and Strats and have
found quite a few good ones, but not as consistently as their higher priced,
American sisters ... You might have to play a few, but there are jewels out
there ... I mean, Mexicans built most of the Fenders in the 70s and 80s ...
Just these days, they don't have to cross the border every morning to work
... Youngest brother, Kirk, purchased an American Made Custom Shop Strat
and was VERY pleased ..."
"Many people lean towards ash - my '74 Strat is alder and has never let me
down - and is lighter - so it's a toss up. I have Tele, as well, and play
it a lot. I'm sure you'll be pleased ..."
Doug would voice, "I've handled a lot of the MIM Teles and Strats and have
found quite a few good ones, but not as consistently as their higher priced,
American sisters ... You might have to play a few, but there are jewels out
there ... I mean, Mexicans built most of the Fenders in the 70s and 80s ...
Just these days, they don't have to cross the border every morning to work
... Youngest brother, Kirk, purchased an American Made Custom Shop Strat
and was VERY pleased ..."
"Many people lean towards ash - my '74 Strat is alder and has never let me
down - and is lighter - so it's a toss up. I have Tele, as well, and play
it a lot. I'm sure you'll be pleased ..."
... Perhaps Doug's Fender Mexican Worker History
Assessment Was a Bit Abridged ...
Fender Cum
I would, over the next day, spend some quality time with an array of Telecasters
at The Guitar Center in Natick, Massachusetts. I knew the best days and times
of that location, with a relatively clear floor and few competing distractions.
With this, I made several rapid switches between the Mexicans and The Americans
- playing them 'dry', without amplification, at first
And in my rapid trade-offs, testing for playability, I must say that the
Mexicans did quite well. Assuming the same neck profile, there were some
differences between the two groups - that which I couldn't entirely put my
finger on (no pun) A somewhat different feel, while keeping the fretboard
woods the same. And yet, I couldn't cite one array as being decidedly better
than the other. By my assessment, either could be tweaked in the setup to
come even closer to one another. In fact, the worst-playing of the entire
group was an American Telecaster - if uniquely. It happens. While not atrocious
by any means, it just wasn't setup right, either straight from the box, or
someone at Guitar Center - customer or employee - had fucked with it a bit.
But my assessment of the Mexican Fenders was that playability was not a
deal-breaker with some applied tweaking. This, as applied to my playing style.
And for those of you playing rhythm guitar parts in a country band, spending
much of your time with cowboy chords near the headstock, I can't see how
any of this would make too much of a difference. I say this without elitism
- rather, as an observable fact.
It should be additionally noted that I heard - anecdotally - that Mexican
Fenders started to clean up their act around 2008, offering better consistency
along the production line. I've also heard faint whispers that the MIM
Telecasters were of a slightly better build, generally, relative to their
Mexican Stratocaster counterparts. I cannot affirm either. It may, perhaps,
be true - but the Guitar World is often riddled with folklore. I merely offer
it for your own consideration.
But there would be yet other considerations. Most notably, the electronics.
I was told by two luthiers over the years that the potentiometers (pots)
and switches in the Mexican Telecasters were often essentially identical
to The Americans - or generally so, based on their experience (not as true
for the Stratocasters). But the pickups ... it was here that there was some
cost-cutting at all times. And upon plugging my candidates in - yes - the
Mexican-based 'pups' weren't as refined, to be sure (as it related to the
'clean tones'. It's very important to 'normalize' the volume between guitars
in these comparisons, by the way. Don't be confused or influenced by the
'hotter' pickups. But understand, the stock pickups in the Mexican 'Standard'
Telecaster were still quite serviceable - just not quite up to those found
on the American Standard.
Still, the question beckons ... What if your plan is to swap out the pickups,
anyway? That's a point that might deserve a sustained consideration. It did
for me, as my future plans called for a noiseless pickup array. The thing
is, as you start pouring more parts into the MIM Fenders, you can end up
just a few hundred away from their American counterpart. That said, if you
plan on swapping out components on an American version of the guitar, one
has to naturally apply that additional cost - with both considerations taking
on a greater significance if one has to pay someone to do it. But certainly
for the young who may have to tender improvements over time - as funds allow
- I think the Mexican offerings are truly excellent as a foundation on which
to build and for many adults, as well - and for modifiers, in particular.
At a basic buy-in street price of only $500 for the Standard Tele, these
Mexicans are a truly fine value. Really.
But my Telecaster would be found shortly thereafter, following some deep
research - while also having the benefit of previous, Stratocaster experience
- that which helped hasten what could otherwise be a far more lengthy quest
The guitar would be crafted by The Fender Custom Shop ...
For those not entirely familiar, The Custom Shop is the relatively small,
boutique area of Fender. When Eric Clapton or Keith Richards - among a host
of other notables - have particular requirements, this is the team that brings
the artist's imagination to a place of tangible reality. The Big Boys get
specialized attention, naturally, but The Custom Shop also serves up several
ready-made instruments that are conjured by the staff.
There are 'Master Builts', with one guy (alas, no girls) building the guitar.
And then there are 'Team Builts' as an ensemble creation. They offer complete
'Clapton Replications' for those lost in the belief that such an acquisition
will make them sound like Eric, rather than themselves - or for those who
believe it will give them some special karmic connection to their idle. Other
'Artist Series' are also in attendance.
The more curious offerings include the 'Relic Series' whereby the team takes
a nicely setup, vintage-replicated Fender and then fucks it up with razor
blades, car keys, cigarette burns, acid-etches, and coffee stains - all
artistically executed, Fender hastens to proclaim. The abuse can cost you
an extra $1,000 or so. Now that's Sadomasochism. But for those who like to
be scarred, without having any earned-memory of the event, The Fender Custom
Shop curiously offers this apocalyptic series in spades. For me it's almost
as perverse as a contemporary Jew specifically requesting a shaved head and
tattoo - paying a premium for the indignity. Silly, silly consumerism - made
all the sillier for those with more money, I would eventually come to learn
Yeah ... It's
This fresh sample of a new Fender Custom Shop Relic
Telecaster - complete with scrapes, dings, checked finish, acid etching,
and much in the way of rusted hardware will set you back $5,750
I, on the other hand, preferred a Custom Shop creation without the prestigious
cachet of mutilation. I desired a nicely crafted instrument that offered
much in the way of musicality. One that would, to a greater extent, include
the very modifications I had in mind for an off-the-rack, American Standard
Telecaster ...
The Fender Custom Shop offerings leave many of my more thrift-minded readers
behind, I know. A 'low-end' Custom Shop has a current street price of just
over $2,000. A more common price bracket for these boutique instruments would
fall in the $3,000 ~ $4,000 range. Yes, that's a long way from Mexico, indeed.
But much can still be learned here - particularly for modifiers, as well
as for those interested in a higher-end example as a point of reference to
be used in consideration of purchases more modest. Let it be said, up-front,
that no one should feel slighted with a standard-issue Telecaster, by any
means. It is the small refinements, along with low production runs, that
can elevate a price three-fold - relating to a number of product offerings
and categories.
For those with an intimate familiarity with the variety of Telecaster inceptions,
a quick glance of my guitar may lead one to conclude that it's a 'Nashville'
configured Telecaster, sporting the signature three pickup array (as opposed
to the more usual two). But no. Those are traditionally outfitted with the
'Tex-Mex' pickups -- or some similar variant (depending on American or Mexican),
rendering their own, distinctive sonic character.
For readers somewhat more familiar with Fender history - and possessing an
even more observant eye - the small toggle switch between the control knobs
may conjure thoughts of the relatively short-lived, Telecaster Plus - Version
II, where the three pickups were evenly spaced, relative to the first version,
with two bridge pickups placed side-by-side. You're closer, yes, but the
'Tele Plus' incorporated three Lace Sensor pickups, unique in their appearance
- as well as sound.
Indeed, the closest cousin to my Custom Shop Telecaster would be the rather
limited run, Telecaster Deluxe of 1998 (through some of 1999) While 'Deluxes'
still very much exist, their configuration would be changed after 1999 -
back to a more traditional, two pickup arrangement commonly associated with
the Telecaster.
The three pickup arrangement uses Fender Noiseless units across the array,
with the outer two - at neck and bridge - being 'Tele-based'. The middle
noiseless, however, is pulled from a Stratocaster.
With this, we need a way to regulate the coil traffic and its associated
wire routing of the three-pickup array, so a 5-way blade switch - as used
in a Stratocaster - would be loaded into the control panel, rather than the
3-way employed in the more standard, two pickup Tele arrangement. And a sector
of this 5-way blade is, in turn, wired across a two-way toggle switch, loaded
between the control pots. All combined, this provides seven 'tonal centers'
for this Telecaster, relative to the more common, three variants.
While this added complexity may seemingly pull away from my premise of the
Tele getting me to my preferred tones faster, it should be noted that the
'standard Tele' can still be selected. I regard the middle Strat pickup as
being a 'value added'.
One may wonder - with the center Strat pickup used in isolation - if the
guitar, indeed, replicates the Stratocaster sound when it's central pickup
is selected in isolation. To which I say Kind of. Sort of. Perhaps even close.
But when you're loading an identical pickup into a different form factor
with a different mass and 'resonance nodes', replication - in the absolute
- simply isn't possible. That said, it still certainly sounds 'Strat-like'.
But this would not so much be the point in this instance - certainly not
exclusively. Rather, the charm is found in the merger between the Tele and
the Strat. Some very useful and interesting tones emerge. Play around, and
you can coax some tones that are almost acoustic-like - decidedly more so
than those dialed in on many other solid-body electrics. Add a very light
and judicious touch of phase and chorus downstream, and those quasi-acoustic
tones become almost bell-like. Certainly very musical in timbre. Even the
snootiest of first-chair players in the orchestra wouldn't be offended.
Be that as it may, as one whose platform is almost exclusively within the
recording context, the Fender Noiseless pickups were the first modification
I had in mind if I were to purchase a standard-issue, Tele sample. But here,
The Custom Shop had done it for me. Back in 'the day', when recording with
'single coil' guitars, one had to position themselves 17 degrees, due west
of magnetic north during winter solstice with a 10 gauge copper wire running
between the bridge plate and a cold water pipe.
When I first encounter 'Noiseless' some years back - as one who didn't much
favor the conventional, parallel-coil 'humbucker sound' applied to a solid-body
Fender - I rejoiced. The humbucker arrangement mated to the hollow-bodied
Gibson Byrdland, understand, is of another animal - as the one animal Ted
Nugent won't kill with usual, assassin-like glee. But we're otherwise talking
about a man who would celebrate the release of deer in Dealey Plaza so he
could sit comfortably perched in the Book Depository with a lunch. I mean,
when Nugent's own record label feels compelled to imprint his CD jackets
with 'No animals were injured or killed in the making of this recording',
there may be a problem there ...
But I digress.
Be that as it may, while noiseless units do pull somewhat to the side, sonically,
relative to the 'classic sound' (as if there were only one of those for any
Fender), it's not sizeable enough to even be regarded as a 'tradeoff', in
my view. The 'Tele Sound' is still very much there, without alarm - and easily
coaxed to a particular direction with modest downstream tweaks. Amplifier
selection, after all - for those not going 'direct-injection' into the console
- will impart far more of a sonic signature than a swap to noiseless-versioned
pickups ... as will the cabinet, the driver within - and the very microphone
used to capture it, along with its positioning. Christ, the room can be more
of a defining moment. It should be noted, however, that the height
adjustment of any Fender Noiseless pickup is of critical importance
(often differing from Fender's own recommendations). There are those who
have shunned these pickups simply because they weren't set up correctly.
In any event, the question may be beckoned, does this arrangement - no matter
how versatile - justify the high cost of a Fender Custom Shop offering? In
a word no - not as viewed in isolation. While this particular array of pickups
isn't offered in any contemporary, off-the-rack Fender (nor even as a 'stock
item' from The Custom Shop, currently), the pickups are certainly available
as a 'part', with yet other stock, wall-hanger Fenders incorporating noiseless
pickups of some sort. Further, the pots and switches used for traffic regulation
are standard issue, Fender fare. Perhaps pots are individually selected for
the smoothest electrical taper, but I really tend to doubt that.
For modifiers, in particular, the entire array - inclusive of switching options
- can be rather easily replicated at a lower cost. I suppose the
Nashville-formatted Telecaster would be the easiest starting ground, with
the body already milled for the central pickup - along with the additional
pickguard cutout to accommodate the same. (NOTE: I hear there are Telecaster
bodies out there that already have the milling for the central pickup, below
the two-pickup guard. They may just exist in some of the Mexican Telecasters
- I really don't know. But make a mental note of this, in any event).
But there are yet other considerations ...
The crew at The Custom Shop get to pick the best wood samples from the shed
pile. Actually, there's another staff that selects the pieces for them -
separating samples as 'Custom Shop', 'American Standard', 'Mexico' kind of
like that, as told. The Asian Squires, I believe, are farmed locally. But
know that some of the selection is based upon grain aesthetics, it should
be noted. Still, my Custom Shop is denoted as having 'premium ash' in its
body construction, while the neck is a single piece of birdseye maple, more
figured at the headstock, seemingly more 'flamed' as one moves up towards
the body. Quite attractive, really - and is a visual hallmark that separates
this Custom Shop Telecaster from the rest.
The body is finished with a notably thin coat, described by Fender as
'Transparent Blonde' - even though I would describe it as, perhaps, more
translucent in character. I prefer to refer to it as 'Naked Blonde' because
- you know - I'm a pig. But in any event, the Ash grain remains quite visible
below the finish.
But there's a reason I first audition electric guitars 'dry', without
amplification I'm listening to the guitar's innate resonances, inclusive
of its sustain. Understand, not all of what you hear will translate through
the pickups, but aiming for a 'nice sounding acoustic' in an electric - yes,
even in a solid-body - can be telling of its more common, amplified character.
It was here, as it related to this guitar, that I heard 'more'. More resonance,
more sustain - no matter how subtle (relative to other Ash bodies). It could
have been the 'premium ash'; it could have been the thin finish layer; it
could have been the number of pieces used in the body's construction. Perhaps,
it was a little bit of everything. But this does raise a consideration
American-made Fenders have bodies that are formed with two or three pieces
of wood. One piece bodies are notably uncommon out of the Fender factory
- with most dating back to the early days. Mexicans can have between 3 to
5 pieces used in their construction (though three is seemingly more common
in more recent Mexicans, I'm told. The selection of a natural, clear coat
finish assures it). The low-end Squires from Asia are typically made up of
5 to 7 pieces, explaining why they're only available in opaque, paint-like
My particular sample is comprised of two pieces, as is common out of The
Custom Shop. There may well be a reason for this Whenever a glue joint is
imposed between two pieces of wood, there's a change - an 'interruption'
- in mechanical impedance ... that which would tend to partially impede a
'continuous-run' resonance. To the chagrin of many reading this - no, this
isn't a matter of online, 'Guitar Forum' opinion. It's a law of physics.
And the more one imposes differing mechanical impedances, the less resonance
- and sustain - one may expect. After all, high-end luthiers often select
- or concoct - their adhesives to impart the least amount of suppression.
There are a host of yet other factors, it should be noted.
That said ...
There are those who would favor the more common, three-piece construction
- and such an argument could have merit, certainly within the realm of the
academic In a three-piece construction sample - where the outer two pieces
form the 'wings' of an electric - this means that the neck, the pickups,
and bridge plate are all mounted on the same, centrally located plank of
wood. This, if in theory, could have advantages relative to the bolt-on
components riding a center-split glue joint. Like I said, this perspective
has merit as a point of consideration. What isn't known is if such an advantage
might be offset by the additional glue joint required for its construction.
I say, have a listen (better realized 'dry'), as there are no consistent
formulations between any two pieces of wood - or pieces of joined wood.
This said ...
Be aware that Fender produced some guitars with a continuous veneer glued
over a pieced body. I don't know which ones they may have been, but be conscious
of their existence. With all of that glue wrapping the body, they would be
the ones I would most shy away from, frankly. The 'veneer issues' should
not be confused with the limited-run, 'George Harrison, Let It Be'
Telecaster, with a thin core of maple, wrapped in solid (relatively
thick) rosewood, front and back. This 'lamination' can't really be regarded
as a 'veneer', per se. But here, you'd be dealing with a guitar with yet
another tone, entirely, in any event. A very different animal. And it
still may not be a particularly resonant guitar. I really don't know.
I've never played one.
Let it be said, by the way, that any single plank of wood will have
varying mechanical impedances across the sample. But these are not the functional
equivalent to a glue joint and should be considered differently. The impedance
variations across a single piece of wood are part of what defines the 'overall'.
Glue joints contribute nothing. Or, more precisely, nothing positive.
As to the Asian Squire owners, incidentally, don't become overly fixated
on the above. If you have found 'your sound' with a below-the-surface
construction that resembles a butcher block, you're entirely good to go.
Play on So many of you are finding your 'tone' and 'sustain' by other means.
And there are, indeed, some accomplished guitarists who keep a Squire on
hand for their particular timbre (though often times retrofitted with other
But this two-piece Ash body does display the fast-attack and distinctive
high-end associated with the wood - yet rounded by the maple neck, smoothing
the curve somewhat. This is why solid maple is often mated with the ash bodies.
Rosewood on the fretboard, say, would harden the upper register to the point
of brittleness (not true when mated with an alder body where maple or rosewood
becomes a matter of tonal preference). Naturally, the actual neck profile
also comes into play. My Telecaster has the more modern 'C' profile, with
a 9.5 radius, which is my slight preference for playability. That said, I've
always been able to adapt to most anything, and there are those who prefer
the tonality of the 'D' profile. For me, the presence of either wouldn't
be a deal-breaker.
But one of the most alarming things about this guitar upon first encounter
is the sheer weight and mass of the instrument. Think almost 'Les Paul' heavy
- likely yet another contributor to its sustain. For the live, stage player,
I imagine it could become quite fatiguing. But for those of us sitting on
a stool in a studio context, you simply poise it on your lap. Here too, the
lack of the Strat rear cutaways - implemented by Leo Fender to reduce 'rib
compression' - doesn't matter much in the studio easy chair. Still, when
I picked up a friend's Strat in these recent days, made with an alder body,
it felt like it was made of the balsa wood used in the old model airplanes
of childhood, such was the weight contrast. Inversely, I imagine a longtime
alder Strat player would be alarmingly unprepared for my guitar as they pulled
it from the stand. While I haven't put them on the scale, at least the subjective
difference prompts a real sense of 'wow'. For some, perhaps 'ouch'.
But beyond this, the Custom Shop Fenders do sport an absolutely impeccable
fit and finish - and seemingly do so consistently, across the run (well,
except for those fucking 'Relics'). Even the tortoise pickguard - that which
I don't often favor - has a particularly nice pattern, almost like a carefully
controlled paint splatter in a medium red. It keys in quite nicely with the
'Naked Blonde' finish, in any event, and I have little temptation to switch
it out to basic black. The 'aged white' cover on the central Strat pickup
also plays well, visually, against the Naked Blonde. Good thing, too You
definitely don't want to swap covers on a Fender Noiseless pickup The packing
density of these pickups are so tight, attempted removal of the cover can
damage the coil with relative ease.
But more significantly, the setups of these guitars are generally first-rate.
I only had to ever-so-slightly tweak the intonation on the low-E. And a
micro-tilt adjustment aperture is there at the neck plate, should that ever
be required. In truth, as it relates to playability, this may just be best
Fender guitar I've played - if by a relatively small margin (assuming a proper
setup). But, on the other hand, I haven't played dozens of these things like
my friend, Doug.
And while there are those who may not favor the high-buff gloss of the birdseye
maple neck - front and back, inclusive of fretboard - I found that it in
no way impeded whatever I wanted to throw at it based upon what I play. If
I was sweating on stage - or playing this back when I was 16 - it might be
a different story, however. Still, as of this day, it all comes across as
effortless (even with the .011 strings I often load).
A few minor disappointments ... While Fender has selectively begun to incorporate
copper shielding within the pickup apertures - along with the control plate
well - if, in only a couple of models, none would be used in this Custom
Shop. Yes, even with 'noiseless' pickups - in the recording context - if
you can lower the noise floor by even a decibel or two, you go for it if
only as a matter of form. But that's an easy addition as one of the most
common modifications associated with Fender guitars - yeah, even with noiseless
coils (read 'low-noise', instead).
But ADDITIONAL
NOTE: The internal cavities are, indeed, 'screen painted' with
a flat black paint that is, in fact, conductive. But having a resistance
between 50 ~ 150 ohms (depending on probe separation), it's still not the
equal of copper. No shielding was present on the underside of the pickguard,
it should be additionally noted. Also know that Telecasters - as a genre
- aren't as hum-prone as the Stratocasters. Still, copper is in this guitar's
Secondly, the internal solder connections weren't entirely first-rate in
their execution (though see the added 'Epilogue Amendment' at this article's
close). I was compelled to go in with a pencil iron and renegotiate those
connections. But I'm an anal-retentive, obsessive-compulsive when it comes
to such things. Or perhaps, instead, I've merely had experience - one that
has revealed some of the anomalies associated with even moderately sub-standard
solder connections, if over time ... Nevertheless, I can't imagine Fender
employing the solder from Radio Shack which - over the past several years
- has, in my view, produced some the worst spools of silvery shit as I've
encountered in my lifetime. It's usable, yes - but sometimes you really have
to work at it. Again and again.
But while I was there I swapped out the provided mini-toggle switch between
the control pots, installed by Fender. To me, the switch was just too light
in its 'latch' - more so in one direction, than the other. While this might
have been preferred by stage players looking for a quick pinkie execution
- perhaps Fender's thought - I installed something more ballsy and decisive.
Perhaps such is a reflection of my personality
In any event, I had originally entertained a brief overview that took a look
at some of the 'jacks' I'll be plugging the guitar into, from studio amps
and their microphone capture, to the much-improved and often remarkable digital
'Amp Designer' as an integral part of the Logic Studio Pro 9 software I currently
use for recording on a Mac. But, upon consideration, I decided that this
might be better served with a separate article, even if in short-form.
And yes, I may well pick up a Mexican Stratocaster one weekend to give you
some better insights regarding this genre, following a more relaxed and thorough
But with over a dozen printable pages here, I've given you enough to swallow
in a single sitting, I reason.
Save one thing ...
While being of a lower price than a new, notably expensive Gibson Byrdland
guitar, these Fender Custom Shops can be pricey, to be sure. And,
again, one shouldn't feel 'slighted' with a more standard-issue Telecaster.
Starting at about $1,000 for a 'Basic American', they're all very worthy
instruments. As to my Custom Shop ... The guitar I featured above is a
minty-clean, barely played, 1996 limited-run, 'American Classic' Custom Shop
sample that would essentially be the precursor to the Tele Deluxe of 1998.
It was secured for all of $1,350. See the logic now? I would have spent as
much - or more - modifying an off-the-rack, basic Telecaster to this Custom
setup that incorporated most of the changes I already had in mind. This,
while otherwise tossing original pickups, swapping out the blade switch,
and adding the mini-toggle between the control pots (which would've been
the most nominal part). And this, without some of the Custom Shop refinements
- such as prime wood selections, perhaps.
But a lesson should be learned here ... While there have been some 'instant
collectibles' among The Custom Shop offerings - such as the flower-powered,
Monterey Pop (very limited) edition, these guitars - more generally - can
take a sizable hit in monetary value (and only monetary value).
In fact, as a percentage of value, the 'Custom Shops' may take a bigger
hit than a nicely cared-for, garden-variety Fender guitar. Again, outside
of a few guitars specifically designed to be instant collectibles,
these are not 'investment-grade guitars', despite some promotional claims
- nor should they be. Not for the artist. Let this be good news
for you. It may just let you get a nicely refined guitar ... for a song.
Play on ...
EPILOGUE AMENDMENT: Upon closer internal examination, I have some
tell-tale evidence to suspect that the wiring scheme may have been
temporarily modified by the original owner -- then switched back to the
as-intended configuration. If so, it would likely explain the somewhat
sub-standard soldering work I felt so compelled to clean up -- this perhaps
not as a reflection of The Custom Shop handiwork, after all.
Send an Email to JosephMind
original contents copyright © joseph


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Dick's Electric Fencer Repair has been in the electric fencer repair business for over 25 years and we know what it takes to provide customer satisfaction: good service, honesty, quick turnaround and fair prices. We are a factory authorized warranty repair facility for most American makes and repair both domestic and foreign fencers. Unlike many of our competitors, we're different in the fact we provide you with free estimates and give you a one-year no questions asked warranty.
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