Category Archives: DEB ERNEY

Guitarist, songwriter, avid electronics user, video/audio recording enthusiast, artist

Experimenting with the new PreSonus AR12

I’ve set up a youtube.com/c/deberney playlist for the AR-12 for anyone thinking about purchasing this or anyone wanting information on how to use it.

The AR12 does need a little understanding before you really get to the heart of using it.  There is so much that has been included on the AR-12 that you have to take a little time to learn how to properly set it up and use it to it’s full potential.

I hope these video’s will help you on your journey.

Contact Deb at deberney@att.net

What it Means to be a Musician

WHAT IT MEANS TO BE A MUSICIAN

I’ve played guitar, sang, wrote songs since I was 14 years old.  That’s a very long time.  I’ve always gotten refuge from the the world with music.  My guitar has been my best friend throughout my life-time.  I tend to be a solitary person, most comfortable with a guitar in my lap.  With or without an audience, though I do love an audience.

It is nothing new to me to be sitting with my guitar, a mic, a recorder and look up at the clock to see I’ve been at it for a good portion of the day.  Hours fly by when I’m working in my studio with audio or video productions.

Many people think I’m an idiot spending all my money on recording equipment and instruments.  When they learn the cost of my guitars there is always a long pause of silence followed by the eye rolling.

I bought my second guitar when I was 14 years old.  It was an Epiphone 12-string that I paid $300+ in 1972.  I worked after school at the local Winn Dixie Grocery store and saved for that guitar.  I proudly brought it home and was eager to share the news of my new 12-string with my family.  My step-mother, Nancy, insisted on evening meals with the whole family present and that evening at dinner time I announced that I had finally saved enough for my 12-string and had it in my room and if anyone wanted to hear me play it…  My stepmom asked me to tell my father how much I paid for it.  I told him and he asked me if I had a brain in my head??  He was very upset that I had spent that much on a guitar.  I learned from then on not to divulge the cost of my equipment to non-musicians.

Yes, I agree, I could have purchased several homes with the money I’ve spent on my instruments and equipment but, would I still be sane?  Music has been there for me like a blanket in the storm that is “life”.  Some would call me irresponsible and immature but, I call it self preservation.

I have a Guild 12-string I purchased in 1982.  Instead of paying for food and shelter I bought a long sought after 12-string guitar.  I am still the proud owner of that guitar today.  It has always been my most cherished possession.  You can probably imagine my joy at seeing this same model, Guild 12-string, F-512, written up in “Acoustic Guitar Magazine” as the best 12-strings ever made.  I proudly display a copy of the magazine, in the Guild guitar case along with the guitar.  I agree that yes, it is one of the finest 12-strings I’ve ever played.  I’ve written songs with that Guild when I couldn’t bear the tears, the pain, confusion.  That guitar has always brought great joy to me.  Just to hear it ring out as I play it is still a thrill that never grows old.

Owning so many instruments and equipment has left me quite broke but, I can honestly say that my experience with all things music is quite vast.

Discovering “EBAY” has been instrumental in being able to try out vast quantities of equipment that I normally couldn’t afford to try out.  If not for  buying and selling equipment on EBAY I wouldn’t have the means to try out new equipment every 4 years.  I have yet to purchase a guitar from “EBAY” but, I have gotten quite a bit of used equipment over the years.  Some good, some not so good.

Being a musician I will take work when and where I can find it, usually playing for free or little compensation.  I would not consider myself lazy as it takes great dedication, education, love of music, and great amounts of time learning intricate passages, scales, notes, chords and songs.  I’m constantly struggling to better my capabilities with my instruments, equipment.

There is so much to learn and so little time and this is especially true for musicians.

Contact Deb at deberney@att.net

PRESONUS AR12 PROBLEMS

I purchased the FIRST PRESONUS AR12 on 3-21-17 and I’m sending back the second one today, 4-25-17 because of manufacturer defects/problems with the PreSonus AR12.

I did a few video reviews on the PreSonus AR12 showing effect and setup. And two more video’s showing the problems I’ve encountered with both PreSonus AR12 units I’ve tested in the last 3 weeks.
Not a good first impression on quality and durability.

This journey began with a search for a mixer (for live) and something (easy to configure/use) for recording 2-4 individual tracks to Logic Pro X in the $500 range.  I was hoping to get something that would replace my Zoom R16, Apogee Duet 2 (a nightmare) and Behringer Xenyx 1622FX.  Maybe too much to ask in the $500 price range???  After paying so much for the Apogee Duet 2, recommended by Sweetwater and having such a bad experience with it, I’m not convinced I have to sell a body part to have a decent setup.

I was looking at the Behringer UFX1204, Allen & Heath Zedi 10fx, Allen & Heath Zed 10fx and the new PreSonus AR12 as all of these are hybrid, mixer, USB recorders.

I emailed my Sweetwater rep asking which one he preferred and if he recommended anything else with my requirements. Several days later I received a 2 line reply saying the “PreSonus AR12 is a very solid pick”.

My experience with Sweetwater is that they tend to be a bit snobbish if your not spending $1,000 or more. But, Sweetwater has a 2 year coverage (at no additional cost) which swayed my purchasing from them.  Though after inquiring about the details, the repairs are made by Sweetwater and if they can’t fix it you have to go through the manufacturer.  In the future that will not be a deciding factor on my purchase.

I received the first PreSonus AR12 a few days later and yes, it was pretty amazing. The sound was crystal clear, the USB interface was clean. A bit disappointing that the SD recording was only 1 stereo track (not 2 mono tracks, one track that they claim to be stereo) which was a minor drawback though not enough to send it back.

Immediately I setup to do a few video reviews/recordings with my new PreSonus AR12. My first video explored the effects available on the AR12, taking the user through each one, showing how to accessed them and how they sounded on the SD recording. The effect volume knobs were not very responsive. I could only hear the effects change at the 10 to 3 o’clock settings. Nothing before and no change after. Oh, well. Another minor setback.

I had been recording several hours within the span of several days before noticing a popping/crackling sound which I chalked up to my bargain cables. I realized the time had come to upgrade to pay the price and upgrade to the Mogami and Fender cables. Very disappointed I found that the popping/cracking was still there only clearer and more pronounced with the newer/upgraded cables.

It was time to call my, ever so helpful, Sweetwater rep, who transferred my call to Tech help, who transferred my call back to my rep after I demenaded a replacement unit which arrived 7 days later.

I video recorded the opening and the testing of the unit. Using each plugin with both XLR and TS cables, checking for volume, unwanted sound, hiss, hum. I checked all sliders and knobs to make sure they were sound free. Happy that I had a reliable, working, soundless, error free unit I went on to record a few music video’s. After a few days and several hours later a popping sound became very noticeable when using the SD recording or playback. I tried several different SD cards making sure they were properly formatted for the PreSonus AR12 and everyone of the SD cards had a loud popping on record and playback.

Sweetwater was pretty quick in deciding the unit was defective after verifying that I had forced a firm-ware update and used different SD cards that were properly formatted. Once again I was transferred to my Sweetwater rep. who wasn’t able to take my call.

My rep suggested that under $899 these units are not professional quality and recommended another hybrid mixer the QSC TouchMix. Which I think I’ll bypass for now. His suggestions have worked out so, well so, far.

As of today the first PreSonus AR12 has been returned and received by Sweetwater. A return RMA has been issued for the second PreSonus AR12 and I’m trying to decide whether I want to take a chance with another hybred mixer or stick with my trustworthy Behringer brands and get a separate audio interface?


Contact Deb at deberney@att.net

FRIENDS & FAMILY

Christmas Party 2016
Christmas Party 2016 Bonnie & Peggy’s House
Cousins reunited after 35 years
Long Lost Cousins Deb Erney & Mary Sutton
2/OVER
2/OVER
Deb Erney & Ken Black

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Contact Deb at deberney@att.net

BOSE T1 TONEMATCH RECORDING

After the many comments and questions regarding the recording capabilities of  Bose T1 Tonematch I decided to revisit my recording experiences, using the Bose Tonematch T1, with a new recording of “Landslide”.

First thing I did was to update drivers for the Bose T1 Tonematch which I could not find on Bose.com but were able to locate through a google search with a link to Bose.com.

The recording of Landslide was recorded with the Bose T1 Preamp OUTPUTs going into a Zoom H5.  Using the Preamp OUT, located beneath channels 1-3 on the Bose T1 Tonematch I ran channel 1 Preamp OUT of the T1 (vocal) into the channel 1 input of a Zoom H5.  I then ran channel 2 Preamp OUT from the T1 (guitar) to the channel 2 input on the Zoom H5.  The results were 100% better than my recording with the Bose T1 Tonematch using the Master or Aux outputs.





I’ve tried recording with the Bose T1 Tonematch, Master and Aux OUT that will capture the effects but, there is no way to separate the sound as these outputs are one TRS for a stereo output.  I noticed a bit of unwanted background noise when recording from either the Master or Aux OUT.  See youtube.com/daerney for this video.

Watch for the followup “USB Recording with Bose T1 Tonematch”

Landslide recorded with Bose T1 Tonematch Preamp OUT.

Contact Deb at deberney@att.net

Boss VE-8 recording

Buying new equipment is always a fun thing for me.  Running it through the tests, finding out what it does, what it doesn’t do.  Using different hookups, mics, cables, instruments.  Using equipment with other pieces.  I love to experiment.

I bought the Boss VE-8 a month ago and have been using it to record, perform, practice and just enjoy.  You can see the video’s I’ve posted to date using the VE-8 and be assured there will be more to come.  To date I have youtube videos on Boss VE-8 unboxing and harmonies.

Here is one of the configurations/hookups that have worked well for me.  I’m able to configure the VE-8 to record with 2 separate channels offering me control of the volume after recording the vocal and guitar (2 separate channels) with a Zoom H5.  Either of these setups record well with 2 separate outputs or a stereo output.  I find the High settings for the harmonies to record more accurately than the other harmony settings.

boss-ve-8-hookups-wequipment-jpg boss-ve-8-hookups-14%22

The VE-8 records well with USB BUT, the harmonies do not.  The harmonies are a bit “garbled” & distorted.

I have many videos in the making showing every aspect of using this product.  The VE-8 is a definite addition to enhance the performance/recording for any guitarist/singer.

Contact Deb at deberney@att.net

Fishman Artist vs Bose Compact

I have both the Fishman Artist and the Bose L1 Compact. They are both valuable, quality additions to my arsenal for different reasons.

As a not-for profit artist that does quite a bit of non-paying entertaining the Fishman artist is always my lightweight, easy to setup, great sounding solution for a smaller crowd. I like the Fishman Artist because of the onboard effects that make setting up a breeze. It’s very lightweight and has enough volume for crowds of 50+-.

I like the Bose L1 Compact for it’s clarity, ease of setup, light weight and the sound truly carries quite a large area. I don’t like that it doesn’t have effects making it necessary for me to carry a mixer (bose T1) with it.

When playing for larger crowds I will use both units. The Bose has the clear, bright sound and the Fishman has a deeper, bassier sound. The two of them together have a magnificent sound.

This video demonstrates the sound quality, while walking around the Bose Compact and Fishman Artist with a Zoom H5 to record the sound as I walk around a 20×30 room. I’m using a Canon Vixia for the video and Zoom H5 for audio recording of the Bose Compact and the Fishman Artist.
I own both the Bose Compact and the Fishman Artist portable PA systems. Both are lightweight, easy to setup, and sound great. Having used both systems with live performances over the last 3 years, I recommend both systems. They are both high quality, durable.

Contact Deb at deberney@att.net

Crazy Love (written by Van Morrison)

Down load PDF here

{title:CRAZY LOVE}
{subtitle:Van Morrison}
{key:A}

[A]I can feel her [C#m]heartbeat [D]from a thousand [A]miles
[A]And the heavens [C#m]open [D]every time she [A]smiles
[A]And when I come to [C#m]her [D]that’s where I [A]belong
[A]Yeah, I’m running [C#m]to her like a [D]river’s [A]song

CHORUS:
She gives me [A]love [E]love [F#m]love [E]love, [D]crazy [E]love
She gives me [A]love [E]love [F#m]love [E]love, [D]crazy [A]love

[A]She’s got a fine sense of [C#m]humor when I’m [D]feeling [A]down
[A]And when I come to [C#m]her when the [D]sun goes [A]down
[A]She takes away my [C#m]trouble [D]takes away my [A]grief
[A]Take away my [C#m]heartache, [D]I go right to [A]sleep ..CHORUS

[BRIDGE]
[E]Yes I [D]need her in the [A]daytime
[E]Yes I [D]need her in the [A]night
[E]Yes I want to [D]throw my arms [A]around her
[C#m]Kiss her hug her [D]kiss her hug her [A]tight[E]

[A]And when I’m re[C#m]turning from [D]so far [A]away
[A]She gives me some sweet [C#m]lovin [D]brightens up my [A]day
[A]Yes it makes me [C#m]righteous, [D]yes it makes me [A]whole
[A]Yes it makes me [C#m]mellow [D]down into my [A]soul …

CHORUS TWICE:

Contact Deb at deberney@att.net

AUDIO RECORDING ON A BUDGET $100 – $200

Four low-cost recording solutions (both USB and standalone) for a novice recording artist.

My cousin Mary and I started collaborating our music.  This meant recording and transferring music files back and forth.  This is not anything Mary had ever done and she relies on her husband Gene for much of the technical know how so, I have a mission to find something that both of them will be able to use and at the same time provide good sound quality.

I’ve used a Zoom H2 which is very simple to use and can be used with the USB (with quite a bit of finessing).   If you can use a tape deck, you can use this.  The biggest draw back of the Zoom H2 is that it only has a 1/8″ plugin.  Mary uses an older synthesizer that has 2,  1/4″ outputs.  She could use a 1/8″ to 1/4″ Y adapter which will work but, provides the lowest sound quality which would be improved significantly with a digital recorder.  Standalone or Audio Interface.

Second choice is an older Zoom H4.  This has a few more bells and whistles but is still fairly easy to use and has 2 of the XLR/TR combo jacks.  While the Zoom H4n is quite a step up from the H4, (with USB capabilities) it is also a bit more complex to use.

I’m also considering the smaller Tascam PocketStudio’s. These are very basic, easy to use and very portable. They have both the XLR & TRS inputs for vocal and or instrument input and can be used as a standalone or USB recorder.  A computer savvy person can have fun with this and a novice will be able to figure it out.

The best option for sound, in my opinion, is using a USB mixer such as the Behringer Xenyx Q1002USB.  I get some of my best recordings with a mixer L/R running into my Zoom H5.  But, once again, you have to finesse the drivers to work properly.  Not something a novice is going to know without hours of research, learning the proper settings of software, hardware and finding drivers that will work.

I have narrowed MY FINAL PICKS to these four recorders.
1. Tascam DP-006
2. Tascam DR-40
3. Focusrite Scarlet 2i2
4. Behringer Xenyx Q1002USB


Contact Deb at deberney@att.net

Deb Erney & Mary Sutton

We have decided to record some old favorites (maybe some new ones) together.  Mary on the piano with myself on vocal and guitar.  For our first collaboration we have chosen to try “Til There Was You”.

I have always played the guitar version from the Beatles and it is quite dummied down from the original version which is what my cousin Mary plays.  OMG!!!  Who plays those chords??  I guess I will.

This is a very hard song for a guitarist.  But, I am going to give it my best shot as there are a few of the residents at the nursing home that have been asking for this song for quite a while.

Here are the first takes on “Til There Was You” Deb Erney & Mary Sutton.

Contact Deb at deberney@att.net

I WANT YOU BACK – Michael Jackson

[E]When I had you to myself, [G#dim]I [A]didn’t want you around
[C#m7]Pretty [G#m7]faces [A]always [E]make you
[F#m7]stand out [B7]in a [E]crowd. [A] [E]
[E]Someone picked you from the bunch,
[G#dim]one [A]glance is all it took
[C#m7]Now it’s [G#m7]much too [A]late for [E]me
to [F#m7]take a [B7]second [E]look. [A] [E]

Chorus:
E(bar)
[E]Ooh baby, [E/C#]give me [E/B]one more [A+9]chance –
to show you that I love you
[C#m7]Won’t [G#m7]you [A]please let [E]me
[F#m7]back in [B7]your [E]heart. [A] [E]
[E]Ooh darling, [E/C#]was [E/B]blind to [A+9]let you go
And [C#m]now [G#m7]since [A]I’ve [E]seen [F#m7]you it [B7]is [E]on [A] [E]

Interlude:
I want you back, ooh, ooh, yeah, yeah
I want you back, ooh, ooh, baby, yeah
I want you back, yeah, yeah, yeah, yeah
I want you back, oh, oh, darling

[E]Trying to live without your love is [G#dim]one long sleepless [A]night
[C#m7]Let me show you, [G#m7]girl, that
[A]I [A]know [F#m7]wrong [B]from [E]right
[E]Every street Ive walked on, it [G#dim]had [[A]]tear stains on the ground
[C#m7]Following the [G#m7]girl [A]I didn’t [F#m]even [A]want [E]around

Chorus:
E(bar)
E]Ooh baby, [E/C#]give me [E/B]one more [A+9]chance –
to show you that I love you
[C#m7]Won’t [G#m7]you [A]please let [E]me
[F#m7]back in [B7]your [E]heart. [A] [E]
[E]Ooh darling, [E/C#]was [E/B]blind to [A+9]let you go
And [C#m]now [G#m7]since [A]I’ve [E]seen [F#m7]you it [B7]is [E]on [A] [E]

I want you back, ooh, ooh, yeah, yeah
I want you back, ooh, ooh, baby, yeah
I want you back, oh, oh, nana
Want you back

Interlude:
I want you back
All I want
I want you back
All I need
I want you back

Chorus:
E(bar)
[E]Ooh baby, [E/C#]give me [E/B]one more [A+9]chance –
to show you that I love you
[C#m7]Won’t [G#m7]you [A]please let [E]me
[F#m7]back in [B7]your [E]heart. [A] [E]
[E]Ooh darling, [E/C#]was [E/B]blind to [A+9]let you go
And [C#m]now [G#m7]since [A]I’ve [E]seen [F#m7]you in[B7]his [E]arms [A] [E]

Outro-Interlude:
I want you back, oh, oh, yeah, yeah
I want you back, ooh, ooh, baby
I want you back, oh, oh, yeah, yeah
I want you back

Contact Deb at deberney@att.net

BOOT SCOOTIN BOOGIE

[E]Out in the country past the city limit sign
well there’s a honky tonk, past the county line
The [A]joint starts a’jumpin’ every night
when the sun goes [E]down
They got [B7]whiskey, women, music, and smoke
It’s where all the cowboy folk go to Boot [A]Scootin [E]Boogie

[E]I got a job, I work hard for my money
when it’s quittin’ time, I hit the door runnin’
I [A]fire up my pickup truck and let the horses [E]run
I go [B7]flyin’ down that highway, to that hideaway
out in the woods to do the Boot [A]Scootin [E]Boogie

[CHORUS]
[E] [E#] [F#] [G#] [A]
Yeah[A]Heel toe, Do-se-doe, come on baby let’s go, [E]Boot Scootin’
Oh [A]Cattalac, Blackjack, come on meet me out back
were gonna [E]boogie
Oh [B7]Get down, turn around, go to town, Boot [A]Scootin’ [E]Boogie

[E]The bartender asks me says “Son, what’ll it be.”
I want a shot at that red-head yonder, lookin’ at me
The [A]dance floor’s hoppin’ and it’s hotter than the forth of [E]July
I see [B7]out-laws, in-laws, crooks, and straights
all out there makin’ it shake doin’ the Boot [A]Scootin’ Boogie [E]

[CHORUS]
[E] [E#] [F#] [G#] [A]
Yeah[A]Heel toe, Do-se-doe, come on baby let’s go, [E]Boot Scootin’
Oh [A]Cattalac, Blackjack, come on meet me out back
were gonna [E]boogie
Oh [B7]Get down, turn around, go to town, Boot [A]Scootin’ [E]Boogie

[E] [E#] [F#] [G#] [A]
Yeah[A]Heel toe, Do-se-doe, come on baby let’s go, [E]Boot Scootin’
Oh [A]Cattalac, Blackjack, come on meet me out back
were gonna [E]boogie
Oh [B7]Get down, turn around, go to town, Boot [A]Scootin’ [E]Boogie
hyhh

Contact Deb at deberney@att.net

I’M NOT IN LOVE – 10 cc

Intro:
Play over 1 verse

[A]I’m not in love, so don'[Am]t forget it.
[G#m]It’s just[G#7] a silly phase
I'[C#m]m going thr[C#m7]ough.
[A]And just because I call y[Am]ou up,
[G#m]Don’t get me wro[G#7]ng,
don’t think you’ve go[C#m]t it made. [C#m7]
[A]I’m not in love[F#m], no[B] no, it'[E]s because…

[A]I’d like to see you, bu[Am]t then again,
[G#m]That does[G#7]n’t mean you mean
t[C#m]hat much to me.[C#m7]
[A]So if I call you, don’t[Am] make a fuss;
[G#m]Don’t tell your[G#7] friends about
th[C#m]e two of us.[C#m7]
[A]I’m not in love[F#m], no[B] no, it'[E]s because…

[CHORUS]
[Am]Ooh, you'[D7]ll wait a long tim[G]e for m[Em]e.
[Am]Ooh, you’ll [D7]wait a long time. [E] [G] [A]
[Am]Ooh, you’ll wa[D7]it a long time for[G] me. [Em]
[Am]Ooh, you'[D7]ll wait a long [E]time.

[A]I keep your picture upon th[Am]e wall.
[G#m]It hides a nasty s[G#7]tain that’s l[C#m]ying ther[C#m7]e.
[A]So don’t you ask me to give it back. [Am]
[G#m]I know you know it[G#7] doesn’t mean tha[C#m]t much to me. [C#m7]
[A]I’m not in love[F#m], no[B] no, it'[E]s because…

[CHORUS]
[A]I’m not in love, [Am]so don’t forget it.
[G#m]It’s just [G#7]a silly phase
I’m [C#m]going throu[C#m7]gh.
[A]And just because [Am]I call you up,
[G#m]Don’t get me [G#7]wrong,
don’t think you’ve [C#m]got it made. [C#m7]
[A]I’m not in love, [Am] I’m not in love… …

Outro:
[A/B] [B] [A/B] [B] [A/B] [B] [A/B] [B] [G#] [A]

Contact Deb at deberney@att.net

BOB WILLS IS STILL THE KING – Waylon Jennings

[A]Well the honky-tonks in Texas
were my [D]natural second [A]home
Where you tip your hat to the ladies
and the Rose Of San Ant[E7]one
[D]I grew up on music that [A]we called Western Swing
It don’t matter who’s in Austin,
Bob [E7]Wills is still the [A]king

[A]Lord I can still remember,
the [D]way things were back [A]then
In spite of all the hard times,
I’d live it all a[E7]gain
To [D]hear the Texas playboys and
[A]Tommy Duncan sing
Makes me proud to be from Texas where
Bob [E7]Wills is still the [A]king

You can [D]hear the Grand Ol’ Opry in
[A]Nashville Tennessee
It’s the home of country music,
on that we all a[E7]gree
But when you [A]cross that ol’ Red River, Hoss,
that [D]just don’t mean a [A]thing
‘Cause once you’re down in Texas,
Bob [E7]Wills is still the [A]king

Well if [D]you ain’t never been there,
then I [A]guess you ain’t been told
That you just can’t live in Texas
unless you got a lot of [E7]soul
It’s the [A]home of Willie Nelson,
the [D]home of Western [A]Swing
He’ll be the first to tell you,
Bob [E7]Wills is still the [A]king

Contact Deb at deberney@att.net

DIFFERENT DRUM (Guitar Tab)

INTRO: 2X
[G] [Bm] [C] [D]

[G]You and [Bm]I [C]travel to the [D]beat of a [G]different drum[Bm]
Oh [C]can’t you [D]tell by the [G]way I [Em]run
[C]Everytime [D]you make e[G]yes at me [Bm] [C] woo[D]h

[G]You cry and [Bm]moan and [C]say it will [D]work out [G][Bm]
But [C]honey child [D]I’ve [G]got my [Em]doubts
You [C]can’t see the forest for the [D]trees

CHORUS:
Oh [C]don’t get me wrong it’s not that I knock it
It’s [D]just that I’m not in the market
For a [C]boy who wants to [D]love only [G]m[Em]e
Yes and [C]I ain’t saying [D]you ain’t pretty
[G]All I’m [Bm]saying [C]I’m not [G]ready
For [A7]any person place or thing
To [Am7]try and pull the reins in on [D7]me

Soooo [G]Goodbye[Bm] [C]I’ll be [D]leaving I [G]see no [Em]sense
In this [C]crying and [D]grieving
We’ll [G]both live a lot [Em]longer [C]if you [D7]live with[G]out me [Bm] [C] [D]

CHORUS:
Oh [C]don’t get me wrong it’s not that I knock it
It’s [D]just that I’m not in the market
For a [C]boy who wants to [D]love only [G]m[Em]e
Yes and [C]I ain’t saying [D]you ain’t pretty
[G]All I’m [Bm]saying [C]I’m not [G]ready
For [A7]any person place or thing
To [Am7]try and pull the reins in on [D7]me

Soooo [G]Goodbye[Bm] [C]I’ll be [D]leaving I [G]see no [Em]sense
In this [C]crying and [D]grieving
We’ll [G]both live a lot [Em]longer [C]if you [D7]live with[G]out me [Bm] [C] [D]

Contact Deb at deberney@att.net

Pyle Musicians Stool/Chair

I had the misfortune to purchase a Pyle Portable Adjustable Musicians Stool in August of last year.  Got it thinking it would be lightweight and comfortable to carry to gigs.  When it arrived I knew I would be sending it back but, I wanted to put it together and see if it was something I would want them to re-send.   The more I unpacked the more damage I found.  The box had been re-sealed, re-packed.  Was ripped, torn and tapped.  The inside product didn’t look much better.

I unpacked everything and put the chair together with bent legs, missing pieces, etc…  IT WAS HUGE AND VERY HEAVY.  There was no way this was portable or easily adjustable.  Adjustments could be made but only by taking it apart.  I immediately sent this back and reflected my experience with an Amazon.com review.  This was in August of 2015.

Today, May 17, 2016 I received an email from the company asking to remedy the situation.  The email would have been nice to receive after receiving the damaged unit in August 2015 – NOT 9 MONTHS LATER.

Needless to say the email upset me enough to want to post the whole situation for all to experience.

This is what I thought I purchased from Amazon/Pyle

Pyle chair 1

 

This is what I received in the mail from the seller.

Contact Deb at deberney@att.net