The Watering Hole

Who knows?  Maybe the randomness needs to be profiled too.  Just like those ray tracing programs do for images, maybe the interactions can some from some fuzzy logic or chaos theory?

Just sayin'  ;)

Funny thing is, I hardly play guitar anymore, so why the fuck do I even care.  ;D

I used to enjoy playing guitar, then I got into the business of selling/distributing guitars, that fucked me up completely.
Spending a few hours everyday in music stores watching great guitarists playing made me realise how useless I am.

Add that to listening to guitarists talk crap a few hours a day and guitars start becoming a cardboard box with a model number written on it and a price, not an instrument.
Then I get home and I've got dozens of e mails from all corners of the planet from guitarists asking if I can get Tokai to make them a custom modell with that maple top with these pots and those tuners with stainless steel frets and a C shaped neck with a flatter radius , blah blah blah...it's enough to drive a man into insanity.

Any psychiatrists on the forum?  ;D

No psychiatrists that I know of, but plenty of lunatics though  ;D

Lance — Aug 20, 2011Funny thing is, I hardly play guitar anymore, so why the fuck do I even care.  ;D

I used to enjoy playing guitar, then I got into the business of selling/distributing guitars, that fucked me up completely.
Spending a few hours everyday in music stores watching great guitarists playing made me realise how useless I am.

Add that to listening to guitarists talk crap a few hours a day and guitars start becoming a cardboard box with a model number written on it and a price, not an instrument.
Then I get home and I've got dozens of e mails from all corners of the planet from guitarists asking if I can get Tokai to make them a custom modell with that maple top with these pots and those tuners with stainless steel frets and a C shaped neck with a flatter radius , blah blah blah...it's enough to drive a man into insanity.

Any psychiatrists on the forum?  ;D

Guitarists can be a trip.  Our main guitar guy at the shop I used to work at almost became the same way.  He'd get home and the last thing he wanted to do was play guitar.  Shame, because he was pretty good.  He eventually heard 'the muse' again and is working on a cd.  Getting into the business can mess things up if you aren't careful.

Lance — Aug 20, 2011Any psychiatrists on the forum?  ;D

I suggested one on the previous page.  ;)

You raise a thought though, a 'house/resident shrink' would definitely have plenty to work with here!  ;D

If Joey was around, a staff psychologist might just go nuts.   ;D

I just noticed Charger changed the default name change for Joey!!  Funny!!

The lunatics have taken over the asylum  ;D

ironsheep — Aug 19, 2011I don't own a professional studio so I don't need it, gotcha.

thanks for saving me some money!

I'm not a pro and I don't own a a pro studio so, a BIG +1 !!

Lwb — Aug 21, 2011[quote author=ironsheep link=1312399097/25#42 date=1313782494]I don't own a professional studio so I don't need it, gotcha.

thanks for saving me some money!

I'm not a pro and I don't own a a pro studio so, a BIG +1 !!

You don't need to be a pro or own a studio, the Kemper is just like any other modeller.
You don't ever have to profile or mic an amp, you just use the amp profiles that come with the unit, or download amp profiles made by others.You can tweak the profiles, add some FX, save the patch, just like any other modeller.

The difference between the Kemper and other modellers is if you do own a pro studio, and you do want to profile your collection of studio amps, you can do that with the Kemper, but you can't do it with other modellers.

I see no negatives, if it sounds good it's a winner.

But like I said, I don't give a fuck.  ;D

I see one negative--the price.

That's two guitars built from parts for me (three or four if I go cheap).  And I love building guitars, even more than I love buying new stuff.  I have more guitars than I could ever play and I have three more in the building stages... I'm a little obsessed.

Oh, I clearly see the point/advantages.  Even a guy who just records some or plays at home, could benefit from the ability to take just a few of his very favorite amps, profile them, and have them available any time.  For example, If I have a good but modest amp like the Classic 30 I used to have...  I could profile a friends Dr. Z, another friends Splawn, another friends Bassman, and suddenly I have a pretty darn close simulation of all three of them at my disposal without buying any.  Better yet is the ability to profile a rare amp or simply a "best I've heard" of an amp type.  For example, I've always like some of the tones that come out of small amps.  I have a friend in a pedal form that has a champ that just sounds fantastic.  I swear the tones sound like cranked SRV at very reasonable volumes.  I'd kill to have that amp and it's not even that expensive, but his is the best sounding champ I've heard.  I'd love to have THAT profile.  Just an example...  

One thing about ANY modeler that is missing: (warning, audiophile content included  :)) IS the speaker/cab/mic aspect.  But not for the reason many think.  It's not as much the "air" between the speaker and mic that is the missing link. Nor the reaction of the mic to the speaker.  It's how a real speaker reacts in a real cab, and how a real speaker in a real cab reacts with the amp.  I have 2 different speaker that I've tried in 3 different cabs and then added insulation to one of the cabs.  The speaker sounds significantly different in each cab.  Even in two closed back cabs of different dimension.  It sounds different when insulation is added.  We all get that.  What is overlooked, or perhaps just harder to correctly emulate, is the interaction between the speaker and the amp.  Or more specifically, the OT.  I have heard first hand the effect of changing the output transformer on an amp to a bigger one.  IN small Champ style amps, it can give them a much larger presentation, but it can also lose the "magic" combination of parts that a good champ can be, in that it loses some of the compression that makes it sound SO good at lower volumes because the OT is sagging... the bigger OT doesn't sag or run out of energy and even with a more transparent, better sounding OT, some of the magic is gone.  Changing the speaker before and after the change was eye opening as well.  The smaller speaker also compressed more and worked in synergy with the smaller OT to really give cranked amp tone at lower volumes.  WIth the bigger OT and the bigger speaker, the amp sounded like a lower powered amp.  With the original OT and speaker, it sounded like a big amp cranked but at lower volume.  

I'm rambling and nobody cares.  LOL  

charger — Aug 22, 2011I see one negative--the price.

That's two guitars built from parts for me (three or four if I go cheap).  And I love building guitars, even more than I love buying new stuff.  I have more guitars than I could ever play and I have three more in the building stages... I'm a little obsessed.

Stop making your own guitars, buy some Tokais.  ;D

Do you still have that Gibson of yours...I remember you saying the Agile sounded and played just as well.

I can't afford a Tokai.

I still have the Gibson Les Paul.  I think about selling it every time I look at it.  I just hate the idea of losing $500 on it, though I could use the $1300 to buy hardware for more guitars.

BTW just set up the Japanese strat in the studio... it's a 1986 or 87 E-Series, it originally had one of those super ugly 2-point trems fender Japan did for a couple of years, but at some point was replaced with a 6-point Fender Japan Vintage trem.  Aside from the fact that the trem holes will never be adequately covered (we replaced the pickguard to mostly cover them)--that is hands-down the best playing guitar in the studio, rivaled only by my Fender USA '62 reissue, but still a notch above in solidity and power for some reason. That guitar cost $250...

DreamTheaterRules — Aug 23, 2011 I'm rambling and nobody cares.  LOL  

Is that profiled rambling, modeled rambling or actual, real rambling?

Just askin'...  ;)

charger — Aug 23, 2011I can't afford a Tokai.

I still have the Gibson Les Paul.  I think about selling it every time I look at it.  I just hate the idea of losing $500 on it, though I could use the $1300 to buy hardware for more guitars.

BTW just set up the Japanese strat in the studio... it's a 1986 or 87 E-Series, it originally had one of those super ugly 2-point trems fender Japan did for a couple of years, but at some point was replaced with a 6-point Fender Japan Vintage trem.  Aside from the fact that the trem holes will never be adequately covered (we replaced the pickguard to mostly cover them)--that is hands-down the best playing guitar in the studio, rivaled only by my Fender USA '62 reissue, but still a notch above in solidity and power for some reason. That guitar cost $250...

Damn, small world, I have one of the E series made in Japan Strats (SSH however), think it's an '87 model. Do you have an idea what type of body wood was used on these things?

CraigBert — Aug 23, 2011[quote author=DreamTheaterRules link=1312399097/50#61 date=1314114234] I'm rambling and nobody cares.  LOL  

Is that profiled rambling, modeled rambling or actual, real rambling?

Just askin'...  ;)


If it's low frequency rambling then he could probably dial it out  ;D

Kabala — Aug 23, 2011[quote author=charger link=1312399097/50#63 date=1314125845]I can't afford a Tokai.

I still have the Gibson Les Paul.  I think about selling it every time I look at it.  I just hate the idea of losing $500 on it, though I could use the $1300 to buy hardware for more guitars.

BTW just set up the Japanese strat in the studio... it's a 1986 or 87 E-Series, it originally had one of those super ugly 2-point trems fender Japan did for a couple of years, but at some point was replaced with a 6-point Fender Japan Vintage trem.  Aside from the fact that the trem holes will never be adequately covered (we replaced the pickguard to mostly cover them)--that is hands-down the best playing guitar in the studio, rivaled only by my Fender USA '62 reissue, but still a notch above in solidity and power for some reason. That guitar cost $250...

Damn, small world, I have one of the E series made in Japan Strats (SSH however), think it's an '87 model. Do you have an idea what type of body wood was used on these things?

If it's a solid color, it's basswood.  Building with basswood is a bitch... everything has to be under-drilled, and sometimes the wood just gives anyway.  But it is an excellent tonewood and really resonant... I almost always grab a basswood guitar when I want feedback...

That MIJ 62RI fotoflame Strat I once had was basswood (sold during my divorce), resonated like crazy and had great tone.
Like you say, basswood is very very soft, and light, I dig it.
No doubt about it you can pick up some of the old MIJ Strats for great prices and they're excellent guitars.

Tokai started making the Strats and Tele's for Fender Japan in 1997, that's when they became the CIJ models.
They quit last year to concentrate on their own Strat and Tele models, the Breezy and Springy's...they cost me about $580.00 to land in SAfrica...they're all 2 piece Alder bodies, no basswood.
It's pretty funny, the Made in Japan and serial number on the Tokais are in the identical place as the Fender Japan guitars, at the bottom of the neck...they're basically Fender Japan guitars with Tokai on the headstock.  :)

My Variax was made of basswood.  I looked at it funny and it dented so out it went!  ;)  (And the guts were transplanted into one of my customs - MUCH better!)

Yes well Fender Japan in that era also used poly finishes... poly is much more resistant to bumps and dents.  But any guitar will dent--I've got the dents in alder, ash, mahogany, and korina bodies to prove it...

Latest video.

http://www.youtube.com/watch?v=QWu_4W5a9s8&feature=player_embedded

at work, laptop speakers disclosure.....  but sounds good too me!

http://www.youtube.com/watch?v=IXuvzWmPLPc&feature=youtu.be

Edit:

My mistake, it's not Mutt Lange, it's Mark Lange from Gear Slutz.

http://www.facebook.com/notes/kemper-amps/the-michael-elsner-report-nashville-profiling-sessions-the-final-day/286759228007074

I'm not saying anyone here is going to buy one of these, but everyone should read that link.  Just for info and to show where this technology is going.  A bunch of guys reviewing compressed samples over the internet may not be very impressed but that's a pretty solid endorsement!  

Funny that years ago, this same group of guys, plus a few more (RIP  ;) ) were in the Line 6 and then Watering Hole forums discussing how long it would be before digital truly equaled tubes.  With the latest from Axe, Kemper, and yes, even Line 6, if not completely there, we are getting VERY VERY close!

I still think that conceptually this is a super idea.  Axe does one very accurate sample of an amp and lets you tweak to your hearts desire.  Read this article and how different different amps sounded with different mics, and how they used that for different profiles of the same amp... this is going beyond what the Axe has, at least in that way.  

This is an incredibly interesting and useful tool.  

Don't get me wrong, I love modeling, but only inside the box.  I like being able to record a direct track and then throw a million different amp and cab models at it until it fits the track.  But I really do not see myself ever buying another "modeller" outside the box, so to speak.  I just like my amps and pedals too much.  I am never going to get that satisfaction from the Kemper... maybe if I was behind the glass I'd be happy with it but I play in the room, with other guitars, bass, drums... I need real amplification.  

charger — Sep 13, 2011Don't get me wrong, I love modeling, but only inside the box.  I like being able to record a direct track and then throw a million different amp and cab models at it until it fits the track.  But I really do not see myself ever buying another "modeller" outside the box, so to speak.  I just like my amps and pedals too much.  I am never going to get that satisfaction from the Kemper... maybe if I was behind the glass I'd be happy with it but I play in the room, with other guitars, bass, drums... I need real amplification.  

Fair enough.

I went to watch a buddy of mine gig last Friday night, he plays a few Tokais into his Fender Twin, a Keeley Compressor up front, a 1988 RAT, some kind of Wampler distortion (cant remember which one), and a TC Electronics G-System for delays and chorus.
He actually used a Tele for the entire show, he sounded frikken fantastic, just beautiful crystal clear biting tone, I loved every minute of his three 1 hour sets.

No doubt about it, a cool guitar into a cool tube amp and a few pedals = fantastic tone.

Yep my current hero is Jim Campilongo... a 52 Tele into a blackface Fender Princeton, he throws in a looper at live shows.  Unbelievable tone.

Well, I'm now the Kemper Profiling Amp distributor in South Africa.  8-)

So, you can stop reading my BS, because I'm now officially biased.  ;D

I have a few on order, shipping in October, so I'll report back with my impressions.

Cograts Lance!!!  

Well done Lance.  How much discount do you get for trade ?

Jon — Sep 16, 2011Well done Lance.  How much discount do you get for trade ?

Do you mean "real" or profiled $$$$ ?  :)

percentage !

Thanks guys.

Jon - let's put it this way.
By the time I ship them to SA, pay shipping costs, import duty, 14% VAT and clearance fees, it costs me about 1300 Euros per unit....a little less than what you'd pay being in the UK...so, the very good discount gets eaten away by the time it reaches me.

Nothing unusual about that, it's the way it works with all music gear in SA...RRP is twice that of the USA and Europe.
My plan with the Kemper is not the "usual" distribution to music stores method, very few "sitting at home" guitarists will afford to buy a Kemper...my plan is to sell direct to studios, direct to anyone who wants one, at a slightly higher price that it would cost them to import one direct themselves....small profit.

So if RRP in SA is twice that of UK that's approx 54% profit margin then.  That's an ok margin, but that of course depends on how much work you have to do to market/sell each one.   Keep us posted on this, I'm always interested in business ventures.


Cost including shipping:  1,300 Euro

UK retail price 1,399 Euro (as direct from Thomann, Germany)  http://www.thomann.de/gb/kemper_profiling_amplifier.htm

SA selling price  2,798 Euro  (twice that of UK)

profit: 1,498 Euro


Edit: Actually, looking at this again, how does the "twice the europe price" RRP work in SA.  I just looked at a SA music store at the price of the POD HD500 and it's about the same price as it is here, so how would you get away with charging twice the going rate for the Kemper?

http://www.globalsounds.co.za/line-hd500-guitar-modelling-effects-pedal-p-9841.html


One final thought on the Kemper.  It's got to be the ugliest piece of equipment I've ever seen.

In terms of a business model, this thing is brilliant.  It hooks into a huge GAS desire of millions of wannabe guitarists the world over. It promises that golden tone that everyone seeks, but the one thing that it completely overlooks, or at least the guitarist overlooks, is that the tone is only as good as the person playing the guitar which is why 99% of all people who buy this stuff (any modeller) end up being discouraged because their playing is not up to standard :-)  ... just my thought for the day !

Pay attention to how he answers some tricky questions about how the profiles respond to changing the distortion and tone controls of the profiled amp...trys to spin it into a good thing instead of being honest and just saying "no, it doesn't behave the in same way as the original"

http://www.youtube.com/watch?v=NyPgBzqKlUs&feature=player_detailpage#t=342s

Jon — Sep 17, 2011Pay attention to how he answers some tricky questions about how the profiles respond to changing the distortion and tone controls of the profiled amp...trys to spin it into a good thing instead of being honest and just saying "no, it doesn't behave the in same way as the original"

http://www.youtube.com/watch?v=NyPgBzqKlUs&feature=player_detailpage#t=342s

Yet, he adds that it is possible to create a set of the models of the original equalizers of the amp and add into the profiles which would make the profile exact match to the original.

I guess this is the highest gain sample available around (being professionaly recorded):

http://www.youtube.com/watch?v=nxLK_YLUDmw



Pretty good. Although it says "I am 01000100111010101011101010111", here and there.

However clean and crunch tones seems faultless.

That German dude can certainly play !

Jon — Sep 17, 2011So if RRP in SA is twice that of UK that's approx 54% profit margin then.  That's an ok margin, but that of course depends on how much work you have to do to market/sell each one.   Keep us posted on this, I'm always interested in business ventures.


Cost including shipping:  1,300 Euro

UK retail price 1,399 Euro (as direct from Thomann, Germany)  http://www.thomann.de/gb/kemper_profiling_amplifier.htm

SA selling price  2,798 Euro  (twice that of UK)

profit: 1,498 Euro


Edit: Actually, looking at this again, how does the "twice the europe price" RRP work in SA.  I just looked at a SA music store at the price of the POD HD500 and it's about the same price as it is here, so how would you get away with charging twice the going rate for the Kemper?

http://www.globalsounds.co.za/line-hd500-guitar-modelling-effects-pedal-p-9841.html


One final thought on the Kemper.  It's got to be the ugliest piece of equipment I've ever seen.

In terms of a business model, this thing is brilliant.  It hooks into a huge GAS desire of millions of wannabe guitarists the world over. It promises that golden tone that everyone seeks, but the one thing that it completely overlooks, or at least the guitarist overlooks, is that the tone is only as good as the person playing the guitar which is why 99% of all people who buy this stuff (any modeller) end up being discouraged because their playing is not up to standard :-)  ... just my thought for the day !

The way you work things out is incorrect.
Yes, retail might be twice that in the UK, but NO GEAR sells at RETAIL any more...everywhere in the world the retail price is history...music stores undercut each other to death just to stay in business...that's why most of the "mom and pop" music stores have closed down and the large chain stores have survived.

Let's take your 2,798 Euro, now take off 40% (I'm a distributor) = 1,678 Euro, my profit, 378 Euro.

With the Tokais for example, I work out the RRP just like you would with any piece of imported gear, then I give music stores less 40% (30 days) and an extra less 10% for COD.
Music stores in SAfrica have now settled for making a 35% profit on the gear they sell.

For example.
Here's a Tokai at Richtone music in the UK....LS150 - £1199.00 = R14,150.00
http://www.richtonemusic.co.uk/products/tokai_love_rock_ls150_electric_guitar_violin_finish-1024257.asp
If you were in SA I could sell you the same guitar less than Richtone is charging you, in fact I can give it to you for £200 less...that's fucking incredible, and remember, my Tokai has the Gibson headstock whereas the Richtone one has the modified "UK" headstock.

In South Africa I charge music stores R11,200 for the same guitar, they add on 35% and sell it for R15,000.00.
That's an example of my method of distribution, so a SAfrican guitarist can buy the same Tokai in South Africa that Richtone sells online in the UK for much less than it would coast him to import one himself from the UK or Japan...and he gets to play and see it first (not that it's necessary to play a Tokai before buying one, you can buy one without ever playing or seeing it).

Fender in South Africa can't do that, neither can Gibson or any other guitar brand in South Africa, it will cost a SAfrican guitarist a lot less to import a Fender or Gibson into SA than to buy one in our music stores.

Trust me, it's not a great "profit" business to be in, but it's a challenge and fun...that's why I do it.

Jon — Sep 17, 2011
In terms of a business model, this thing is brilliant.  It hooks into a huge GAS desire of millions of wannabe guitarists the world over. It promises that golden tone that everyone seeks, but the one thing that it completely overlooks, or at least the guitarist overlooks, is that the tone is only as good as the person playing the guitar which is why 99% of all people who buy this stuff (any modeller) end up being discouraged because their playing is not up to standard :-)  ... just my thought for the day !

Only the Kemper business model does this?...how about the business model of every piece of guitar gear does the same thing...Kemper's business model is no different....we all know, and we've known for years, the better your guitar playing skills are the better your tone.  ;D

The Kemper does things differently...that's why I think it's special, and it appears the Nashville "Pros" agree.
All other modellers say we put various mic's in front of ampX and then we digitally modelled the mics and the various aspects of the amp and cabs.
One big problem, the amp sim sounds nothing like the amp they mic'd and modelled, if it did we wouldn't need a modeller beyond the original Pod 1.
Kemper says, mic your amp, listen to it, are you happy with the tone, is this the tone you use to record in your studio, OK, press the profile button on the Kemper.
Now listen to the profile side by side with your mic'd amp, do they sound identical, yes, OK, so we captured the EXACT sound of your mic'd amp...what more can you ask for?

The biggest problem with the Kemper is the user and whether the user has the ability to mic an amp correctly.
But it's not really a problem, there will be "users" all over the world who do have the ability to mic an amp, and mic it well, and they'll share their profiles.
In any event, who needs a 1000 profiles, I'm happy with 10 good ones of some cool amps, but the possibility of a 1000 profiles exists.

Tough maybe, but I'm guessing it gives you enough time to watch the Springboks luck out against Wales!  ;)

Now they need to beat Samoa (as Wales just did).  :)

CraigBert — Sep 18, 2011Tough maybe, but I'm guessing it gives you enough time to watch the Springboks luck out against Wales!  ;)

Now they need to beat Samoa (as Wales just did).  :)

lol, Craig...did you watch us destroy Fiji yesterday?  :)
We have two wins out of two, looking good, top of our group, and we'll thump Samoa as well.
But, we won't win the WC, New Zealand or Australia will...I'll bet my apartment on that.

How was that USA/Russia game the other day, fuck, one of the rawest most aggressive games of rugger I've seen this WC...I love watching the USA team play rugby.

Glad to hear you're watching the Rugby WC, are you enjoying it?

quote from lance

The way you work things out is incorrect.
Yes, retail might be twice that in the UK, but NO GEAR sells at RETAIL any more...

The way I worked it out IS correct, however the information that you gave in an earlier email is confusing when you said "RRP is twice that of the USA and Europe".  Not sure why you even mentioned that if that's not going to be your selling price?

So your profit is now only 378 Euro. Hmmm, I would say that is not enough once you factor in the cost of sales, although as I said earlier it depends on how much work you have to do to get that 378 Euros.  If it's just a phone call or two then that's fine, but if it involves a lot of travelling and demos etc then I wouldn't touch it....too much work for too little return.

Jon — Sep 18, 2011quote from lance

The way you work things out is incorrect.
Yes, retail might be twice that in the UK, but NO GEAR sells at RETAIL any more...

The way I worked it out IS correct, however the information that you gave in an earlier email is confusing when you said "RRP is twice that of the USA and Europe".  Not sure why you even mentioned that if that's not going to be your selling price?

So your profit is now only 378 Euro. Hmmm, I would say that is not enough once you factor in the cost of sales, although as I said earlier it depends on how much work you have to do to get that 378 Euros.  If it's just a phone call or two then that's fine, but if it involves a lot of travelling and demos etc then I wouldn't touch it....too much work for too little return.




I mention RRP because unfortunately it's still the first question a music store asks when you show them a guitar or whatever you're selling.
Some music stores put two prices on their tags, the retail and the discounted bottom line price.

I've got news for you, I don't make 380 Euros on any of the Tokai guitar models I sell...not even close....on average about 250 Euros on the made in Japan models, and around 180 Euros max on the MIC models.
If I owned my own music store and only sold Tokais from my music store, then I'd make maybe 680 Euros per guitar.
I have two choices, sell direct to the public or supply music stores...at the moment I've chosen the sell to music stores option.

For me to make 380 Euros on a Kemper will require enormous work, video demos, sound demos, actual demos in music stores/studios, lots of driving and travelling, internet hyping, and a very good chance of waiting around 30 days to get paid.

You wouldn't touch it, Jon?
I work, I make a living, what work do you do to make a living?  :)

Lance said

I work, I make a living, what work do you do to make a living?  

Absolutely I work,  I run my own software development business that also incorporates document management services.  My biggest mover at the moment is my on-line document management web application.

I work very hard, but it's worth it as my profit margins are very good, 200% margin Minimum and of course lots of my business from software support contracts which is very lucrative. Support contracts give a healthy monthly income for very little (if any) work.  The initial work is done developing the software and from then on it's all profit each month in support fees.

Lance — Sep 18, 2011[quote author=CraigBert link=1312399097/75#92 date=1316327620]Tough maybe, but I'm guessing it gives you enough time to watch the Springboks luck out against Wales!  ;)

Now they need to beat Samoa (as Wales just did).  :)

lol, Craig...did you watch us destroy Fiji yesterday?  :)
We have two wins out of two, looking good, top of our group, and we'll thump Samoa as well.
But, we won't win the WC, New Zealand or Australia will...I'll bet my apartment on that.

How was that USA/Russia game the other day, fuck, one of the rawest most aggressive games of rugger I've seen this WC...I love watching the USA team play rugby.

Glad to hear you're watching the Rugby WC, are you enjoying it?



Unfortunately, I only get to see some of the Welsh games.  My business partner's Welsh and the games cost $24.99 USD each to watch!  The US is doing well though.  Just make sure your guys take care of Samoa since I think Wales will beat Figi (and pummel Namibia like everyone else has).  That will let Wales get out of group play.  :)

Jon — Sep 18, 2011Lance said

I work, I make a living, what work do you do to make a living?  

Absolutely I work,  I run my own software development business that also incorporates document management services.  My biggest mover at the moment is my on-line document management web application.

I work very hard, but it's worth it as my profit margins are very good, 200% margin Minimum and of course lots of my business from software support contracts which is very lucrative. Support contracts give a healthy monthly income for very little (if any) work.  The initial work is done developing the software and from then on it's all profit each month in support fees.







You're a lucky man, Jon.
Having the ability to develop software is reserved for very bright men, I'm a dumbass when it comes to anything involving computers...I wish I had the brain power to do what you do.

The funny thing is, the harder I work the luckier I get ....