We love working with dogs at DogHouseTrainingTips.com, and this includes everything from helping them lead better lives to helping others understand the benefits of having a pet – especially one which has been trained.

Dogs are fantastic animals and they can really complete the “picture” for some families.

However, they are particularly free spirited animals and this can lead to some clashes over discipline.

You can find the perfect companionship from a dog if you can look after and train your pet in the right direction.

With that being said, we are sure you will find the information here to be useful. So, happy training with your dogs!

 My Lead System Pro Review

My Lead System Pro (MLSP) was founded by Brian Finale,Todd Scholmer and Norbert Orlewicz in 2008. MLSP claims to provide the best multi-level-marketing (MLM) solution and MLM training tools. It is a great online program to generate leads on demand and earn streams of money through it. Those who are already in an MLM business and struggling in network marketing, MLSP is a a great tool to provide needed training to build a successful business. In this review article, I will be be walking you through different elements of this system to decide whether this system is right for you.

http://getmlspmasterynow.com/getmastery


Overview Of MLSP

1) There is lot of training with a wide range of tools in the program. It provides additional boost to attraction marketing. The training videos are very useful and intense.

2) They also have complete marketing strategies with pre-made capture pages and series of written emails that gets sent out to your prospect on daily basis. The aim of these emails is basically to sell MLSP membership to 
make more recruits and it seriously builds you multiple revenues streams almost right away.

3) This program also focuses on supporting its members. There are usual customer service routes for questions and concerns as well as some other ways to connect with other learners.

http://getmlspmasterynow.com/getmastery

Why you should join MLSP even if you are not involved in an MLM business:

1) MLSP is a wonderfully built suite of tools and training to train and develop leaders and help them to build 
their brand and bring new customers. It features attraction marketing techniques, facebook marketing, lead generarion funnel and trainings.

2) MLSP is also coming out with one new tool what they call 'Funnelizer' in next couple of months which will also be included with your MLSP membership along with a new CRM system.

3) MLSP is not just a tool or platform. It's the people, it's the live event, It's a knowing that business partners will not be alone at anytime when you are part of MLSP. You will always be under marketing experts who will always ensure you to get to higher levels. 

The Bottom Line: 

In my view, MLSP is a community that builds leaders. Aside from internet marketing education and tools, it provides complete assistance to grow your business. It helps network marketers to build their passion,confidence 
and their business. MLSP is a great business model and generic program for any kind of business. So get invloved 
in a team which will have your back (always), and if you are serious about your business-start the process 
today!!

If you want to take your business to the next level make sure to click on the link below

http://getmlspmasterynow.com/getmastery




Listening & judgement skills Warning: TL;DR 

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Imo producing boils down to a three stage process on loop: 

(Do something)
1. Listening
2. Judgement
3. Action
(Go to the top)


Almost all of the discussion on the grid falls under #3. Not so much attention is paid to 1 + 2; this is understandable because by their very nature they are personal and abstract and kind of impossible to verbalise and turn into tips or tutorials. However I do feel they are very important and sometimes I get the impression neglected, so I'm going to stupidly try and write about them anyway. 

Here are some examples of classic grid threads that fall under #3: How do I make my reese twist and snarl? How do I make my beats fatter? 

These questions implicitly reveal the results of stage 2 in the person asking them. i.e.: My reese needs to twist and snarl. My beats need to be fatter. In turn this reveals the results of stage 1: My reese is too boring. My beats are too weak. 

So far, so meh... you're probably thinking wtf is this, state the obvious day. OK, true, but the point is you don't work out how to get somewhere until you know where you want to be and where you are now. 

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Where you are now is what you get from #1, Listening. Again, this seems so obvious and self-explanatory i'm crazy for talking about it like this, but what I'm hoping to get across is that it really isnt obvious and self-explanatory at all. Thing is, the average person listening to music does not hear what is really there, more like they hear what they want to hear. 

To take an analogy, consider proofreading text - how many times have you read and re-read an essay or such, without spotting a typo/spelling error? The human brain doesn't mechanically process each letter by letter so as to reliably notice "t h i e r", it performs fast subconscious pattern matching, such that if the grammar of the sentence expects the word "their", and the blob on the page is pretty much "their" shaped, the switching of a couple of letters can be 'auto-corrected' completely before it reaches your conscious mind. 

Similar stuff happens with audio in my experience. A classic example would be peak/rms amplitude. The ears will be happily oblivious to very short peaks, and tell you that what you're hearing is "a quite quiet sound", when what is really there is "a mostly quite quiet sound but with many extremely rapid peaks of very high volume". 

Hearing can be fallible in the EQ dimension also. When I started out, I aspired to snares like Teebee's. I listened hard to Teebee to find out what I needed to copy, and my brain told me the magic of his snares was their being so crisp, bright, sharp, snappy, metallic, etc etc. So I would pick a snare sample for its nice toppy character, and when that wasn't good enough I would go looking for sword noises and such-like to layer on top of it. And then wonder why my snares were so lame and weak. 

The whole time, the "200hz" thing never occured to me, my brain was intent on identifying the character of snares by their top end, when I finally got into this 200hz meme it was like whoah... when listening back to other people's snares suddenly I could clearly hear there was actually something pretty much like a kick under it. It was there all along but I never heard it, because I didn't expect something like a kick to be part of a snare, I had mentally filtered it out. 

Another example would be tuning. I've been struggling to teach myself sax lately, my tuning is not very reliable but despite this I've been keen to write tunes, so I've recorded sax parts into the sequencer, which are often not well in tune. In one track I keep thinking the guitar is out of tune. But the guitarist tuned up with a tuner immediately before recording, and has frets. He's in - fact! It's the sax that's out, but because the sax is the lead line, my brain processes that as the 'correct' reference point and considers the accompanying instrument to be at fault. (What about the rest of track? It should be tuned up from the bass, no?, well, my brain is also less good at determining fine-pitching with subbass, than it is with things in a more 'human voice' register like the sax and guitar...) 

Anyway these particular examples aren't really important as much as the general concept that when you listen you can't assume what you hear is what is really there. 

And the biggest single way this applies is not so much any specific example remotely like those above, but in the general case of "how good is this"? 

i.e. It's all too common to listen to something you're working on, and instead of hearing the unpleasant reality of its faults, hearing what you want it to be. The classic example is being up late working on shit, stoned/drunk, hyped on your new breakthrough/progess, convinced your track is awesome.... but fire it up in the cold light of the next morning, and it sounds like utter arse. I know we've all been there, because there've been nuf threads about it! But imo it can't be dismissed as only an issue of the drugs or adrenalin clouding your judgement. I think it does go deeper and even at the best of times it can be difficult to simply hear your own material truthfully and objectively. 

It is easy to assume that listening is not a skill you have to worry about learning or practicing, if you are born with a functional sense of hearing then that is that; imo this is no more true than being born with 10 functioning fingers makes you a concert pianist... 

So becoming a seasoned producer, step #1: be able to hear things, what is really there. It's being able to hear "inside" music rather than just hearing the music, and you know you're there when you're tempted to start threads about how you can't enjoy other music anymore because you're too busy hearing inside it. (In my experience you go through that and out the other side... Anyyyyyyyyway... going off on a tangent) 

this highly developed listening skill is so important because it is providing you the 'data' upon which you make your judgements, upon which in turn you base your actions. with faulty data you make faulty judgements, in which case however technically adept your actions are, they will be wrong too... so listening is the foundation. 

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Moving onto step #2. (I did warn you tl;dr!). Judgement. 

This is basically asking the question: "is this good enough (yet)?" Or "Is this right yet?" Or "Is this what I want?" 

(The latter is arguably the best phrasing. Because sometimes you dont want 'right', you want it a bit wonky/detuned, to imply a wonky/detuned state of mind, for example. Also, notably, we're back to the idea that you need to know what you want, before you can judge whether or not you've achieved it. Where do I want to be is just as important in making the judgement as Where am I now?.) 

If the answer is "yes", then there is no step 3. There is no action (except the 'action' of finding the determination NOT to fiddle with it and trust yourself it's fine leave it alone - which can take a while to master lol). Instead you move on, make something else, listen, judge... etc. 

But if the answer is "no" - the first sub question is "why not" and the second is "what do I do about it?" Answering the former requires applying your ultra-cold, critical, objective listening skills from above. Answering the latter.... well there are many choices. 

There's a good reason the original question wasn't "Is this good enough or should I process it further?" Because "processing it further" is not your only choice. Other choices include: it's simply never going to be good enough with any processing, so re-record it (for a recorded part) / find a whole different sample. Or, undo some of the processing you've done already. For example, if the answer is "no (because it is overcompressed)", you're probably better backtracking the compression you just did than applying expansion.... 

But now I'm straying ahead of myself into the realm of #3, taking action, so away from that train of thought and back to the judgement call. To be pretensiously philosophical for a moment, it seems to me that this is the ultimate, final essence of what you as a musician/producer is THERE for. All the stuff in #3 could almost be boiled into a rules-based AI system. "If sound is too bassy, apply low-cut." "If sound is insufficiently ambient, increase reverb send." OK, silly examples, but really the same principle applies when scaled up to 'impressive' engineering feats: "If reece is insufficiently twisted, automate fx/resample/layer/repeat." The really human part WHERE YOU COME IN is deciding the sound is insufficiently ambient or insufficiently twisted or whatever. It's in where you decide to go, not the route you eventually take to get there. 

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So........ wtf is the point of this post... I'm struggling to remember myself ah yes..... it basically comes down to: 

- "RATE MY .. / .." threads. - "Hey dogs, I've made these drums, what do you think?" threads. - "Work in progress, is it worth finishing dogs?" threads. 

Do you know what I can't help seeing when I see these threads? 

Someone who is trying to abdicate from their responsibility to listen and judge for themselves. 

Someone who is trying to avoid the very work which most centrally defines being a musician/producer in the first place. 

Now, hopefully, some people are already slightly annoyed because at least that means I'm making some sort of sense, enough for you to tell that's not meant as a compliment So I will immediately seek to alleviate this annoyance with some disclaimers. 

First - this is absolutely not aimed at any individual(s), it's a very, VERY general place I have reached after 6+ years on the grid and 3x that doing music, inasmuch as it is personally critical of someone, that someone is a past version of me.... 

Second - like anything, it is not meant as some black and white statement with no flipside or counterargument. That is, OF COURSE other people's opinions and criticism are important and valuable parts of the learning curve. And of course, the grid is one place where you can find people with the experience and willingness to offer some of that input. I have no intention of saying that seeking external criticism is a bad thing as a producer, nor that it is or should be frowned upon to do it here specifically. 

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What I am trying to get at is a bit more nuanced than that, which is the notion of (1) possible over-reliance on external views, versus the benefits of greater self-reliance (2) asking for external views at inappropriate stages of the production journey or in an inappropriate manner, thus decreasing the value of the feedback you do, or even could possibly, receieve. 

(1) is pretty simple. Basically, every time you ask someone else if the drums are good enough, or if this work in progress clip is worth finishing, then that's a time you're not answering the question yourself, and that's one less piece of practice / training on your way towards developing those listening and judgement skills of your own. Like anything you get those skills from practice. I know it can be hard to trust your judgement (especially (but not only) as a n00b), which is why the natural reaction is to look for validation here. However in some ways there is no real getting around it - you need to make judgements, and make them wrong, in order to really progress longer term. 

(2), i could pussyfoot around forever so I'll try and be blunt and to the point and say: it is almost impossible to give any remotely useful feedback about isolated or incomplete elements outside of a track context. 

I don't think I have ever once responded to a "rate my break" thread and it's not (only ) because I'm an unhelpful cunt, it's because I honestly, 100% believe there is not the slightest possibility I could say anything meaningful. Another of my stating-the-bleeding-obvious examples, a limewax break will sound dog turd in a high contrast tune... or perhaps more insightfully (albeit controversially), the average calibre break will sound dog turd in anything but a calibre track. 

There are two (related) things at play here: intention and context. 

Worthwhile judgement cannot be made, imo, without awareness of intention and context. 

Sometimes things are "wrong" on their own but fine in context. (Or indeed "right" / great on their own, but wrong in context.) Drums may sound weak solo but rolling in the groove and any more forceful would compromise flow; conversely they may sound excessive and overpowering solo but necessarily so in the midst of an onslaught of metal stabs and distorted 808s. 

Sometimes things are wrong for one intention but perfect for another. Like the CV distorted snare onslaught being wrong for a sexy summery liquid roller. So, you may be thinking, well, can't I say "Check my drums! (Aiming for a Current Value style stomper)" ? Well, that's better, true. But it still reduces your intention to a crude reference that may get lost in translation. Ultimately, your intentions should not be fully realisable in text form, they should only be fully communicable through the music itself. After all, if you could express what you wanted to express accurately in text, you'd write poetry, not a tune! So any amount of explanatory notes about your intention cannot fully complete that side of the picture. 

And besides, you're still missing the other side, the context of the rest of the track. 

Like I was rambling under #1 (listening), hearing is a funny old thing, very subjective and fuzzy psychoacoustics are heavily at play, and so different sounds will sound different in different contexts. Sitting with a body of pads to cut through, you might need a little more boost on the low mids of a drumtrack than you realise on its own. Sitting with the ambience of pads floating around it, you might need a little less reverb on the drumtrack than you realise on its own. Etc etc. 

And I mustnt overemphasise the engineering side, because it's equally true and important for music. Which is also why there are problems with getting truly meaningful criticism when posting a 'full mix' clip - ie, you give me the whole context of drums+bass+pads+etc, but only 30 sec of it. That 30 sec may seem far too hectic to me. I might tell you that the drums too wild and unpredictable and complex in rhythm. But if, in its musical context, that 30 sec came immediately after 4 minutes of extremely straight, predictable, unchangingly repetitive rhythm, the same thing could sound totally amazing (due to a larger-scale arc of tension and release) 

In a piece of music every element, sonically and compositionally, is subconsciously judged against everything else that is happening at the same time, everything that happened beforehand, and even, retrospectively, by what happens afterward. (To be even more 'zen', it is also judged by everything that is not happening at the same time, that has not happened beforehand, and does not happen afterwards. ) 

With isolated elements and/or tiny clips, a listener cannot grasp these broad contexts nor infer broad intentions, and as such the potential scope & value of their feedback is highly limited. 

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Soooooooo, what am I saying? 
Finish your tracks 
Yes, in a way, it does come down to something that simple. Plenty of other posts saying similar things, I guess I just came at this one from a roundabout way. Basically, only when you completely finish a track can even YOU "judge your judgements". Because all your individual judgements above build on top of each other, and choosing one thing at one point can render an earlier, previously 'correct' judgement wrong (or a previously wrong one right), etc, etc. 

If you finish a track you (and everyone else) can stand back and say quite definitively: "The break is lacking in ghost notes. Back there when I made the judgement to mute those ghost snares, I made the wrong judgement." Whereas if you only ever made a huge folder of breaks, you can never really make that call, and certainly nobody else can. Perhaps you (or the somebody else) loves sparse 2 step beats, so the judgement is that the break sounds great. It's only in the tune you can get the realisation that in the tune it needed more flow. 

So basically that's my advice, for people wanting 3rd party reassurance / criticism / validation - yes, it's healthy to look for those external opinions, but rather than be impatient and look for input on bits and bobs here and there, FINISH TRACKS and put them in the showcase, because then those opinions will give you more value. 

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And my advice for people wanting to develop their own listening & judgement, to achieve more self-reliance, is very similar -- go to the showcase. 

I think the single biggest thing I did to improve myself in that dept was regularly reviewed other people's unsigned efforts for dnbscene. I honestly think I got more value, personally, from reviewing tracks, than I did from the reviews I received on mine. (that's not meant to belittle people who took the time to offer criticism, of course) 

Honestly! Not just saying that to encourage more people to review in the showcase, it's entirely true. Like anything else, you improve listening & judgement by practice. Sheer repetition of the routine: 

1. play unsigned material, try and listen to what is really there 2. ask yourself: - is this good enough - if not, why not? 

Now of course you most importantly need to do that on your own stuff, but for most people, especially when you're still a n00b with all the stuff in #3, you simply dont finish enough tracks quickly enough to give those skills the level of practice to improve to the level you want. So you find yourself seeking external validation... which as I have hopefully argued above, only perpetuates the issue. So, next time you get frustrated not being able to tell if your work in progress is worth finishing or if your drums are up to scratch - instead of asking 3 people if your drums are up to scratch, go to the showcase and decide whether three other people's drums are up to scratch. 

It's much easier to train yourself to hear common mistakes / problems in unsigned stuff than by A/Bing with great stuff, for the obvious reason that the great stuff doesnt have those problems. And it's much easier to train yourself to be fully harsh in both truly hearing and in judging things, when it's someone else's track rather than your own precious baby. 

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So, well, this rant has run out of steam now, sorry for the TL;DR, hope it wasnt entirely useless.

For the time being, in our view, we should view brain fitness programs as useful tools to train and develop specific skills, whether it is auditory processing in the case of Posit Science, a variety of them at MindFit, working memory at Cogmed, peripheral vision and others through IntelliGym. We can improve our quality of life, productivity and mental faculties. All these tools probably help to reduce the probability of developing Alzheimer's and other dementias (so I personally make sure to learn new things and skills as often as I can, and using these tools is part of that), but that shouldn't be the main reason why people use them since it is an indirect relationship at this point.

We must suppose outside the box. There are no lasting attitudes in that train of thought. Biogenic XR is simple folks and it's right in front of you. It is expected for Biogenic XR to be rather useful. I always knew I could count on Biogenic XR and, the other day, I was right. Regardless, this is not a lifetime commitment where I must be truthful here. Things can and do occur in this kind of situation. As a matter of course, I get my best results from Biogenic XR.
http://maleenhancementshop.info/biogenic-xr/

'The StyLes Movement'

Styles Known For:
Progressive Trance
Uplifting Trance
Driving Trance
Tech Trance/Hard Trance
Hard Trance
Psy Trance
Euphoric to Raw Hardstyles
UK Hard Dance
FiNRG
Freeform

When asked what inspired him to become a DJ, he always responds “the feeling of how the music takes you on a journey of emotions and subliminal thoughts, the way the audience can come together through the music and bring nations together, all for the love of the same sounds.Music transcends all boundaries. And in the end the roar from the crowd when you drop a huge track……pure happiness. That’s what makes me want to DJ.”The way the music scene is always changing keeps him challenged and entertained and spurs him on to become a bigger and better DJ/producer.The trance feel of his music brings a sense of body and soul.
StyLes is no everyday disc jockey, vinyl pusher. The future of a new generation of party goers is where Brisbane's dance scene is reborn and revived by the sweet but dirty, hard but rhythmical, punchy bass lines, emotionally grabbing tunes through the soul. 

His mission is to entertain and make you dance until you can’t dance anymore. His style caters for all genres that hold a Trance feel. Ranging from Progressive Trance, Uplifting & Vocal Trance, Tech & Driving Trance, Psy Trance, Hard Trance, Euphoric Hardstyles, UK Hard Dance, FiNRG and Freeform.

Matty StyLes has had his decks since 2007, but has been in the scene for quite some time. Buying his own full setup of Stanton st-150s and a set of pioneer cdj1000’s and a pioneer djm 800, he realized it was time to stamp his mark on the Brisbane dj/dance/music circuit by learning the ins and outs of the scene and having his say by his own song selections. His love for music and dedication to the scene spurs him on to improve with every mix and set played at each and every club, event and gig.
Ambitions include a residency and a Euro trip to try his luck. He has already played at parties and night clubs with the likes of Dennis Shepherd, Jaytech, Alex M.O.R.P.H, Chris Schwizer, Ben Nicky, Babygee, Matrix, Angus Gibbins, Tranceducer, Habitual_Pl, Hektic, Wovn, Dj Hazard, Mutley, F&E, Jigzee, Little 1, Jody 6, Triple Zero, Keni, Akajic, Breadmaker, Grymm, D-Train, Demize, Analog, Miss Tracey, Rushnosh and S3rl just to name a few, and numerous Electro, House, Trance, Hard Trance, Hardstyle, UK Hard Dance, and Hardcore & Freeform Djs around Brisbane, he has taken in any useful info to further his career and djing techniques.
He is aiming for a solid career in djing and producing and thanks any support and friends and family that have helped him so far and would like any support at any gigs. Hopefully in the next 2 years he will be over in Europe rubbing shoulders with the best of them getting anything like tips and hints on mixing styles and trying to better his skills behind the wheels.

2013 brings the introduction of work with Amon label and night club (WA) with Lemon and Lime (Qld) Electric Playground night club Feat. Alex M.O.R.P.H, Chris Schwizer, and Ben Nicky.

NYE brings the end to 2013 and what a line up to bring in the new year with by mixing it with some of the best with the likes of Dennis Sheperd and Jaytech. 
2015 brought one of his most memorable experiences to date, mixing along side one of his idols Amber Savage.  

Contact/Follow:
Email: mattystyles2012@gmail.com
Facebook: https://www.facebook.com/StyLesMovement?ref=hl
Instagram: http://instagram.com/mattystylesofficial

Compass key provides you with all types of dog training that is very useful to your dog and you too also. CK dogs give good training and tips on how to train a dog to be a service dog at an affordable price.

About
Dj Practice - a unique application designed for training one of the basic skills essential for a good DJ. Loops of the most relevant styles of electronic music were selected specially for the application. DJ Practice is a simulator in which you have to mix down randomly selected loops with different speed.
How it works
The training begins with the launch of the first randomly selected loop with a definite speed playback, then you have to reproduce the second loop, which will be randomly chosen from the available assortment, it will be reproduced with a random speed. You will have 3 minutes to mix down the tracks and at the end of time there will be an auto-mixing. No matter if you have chosen the speed correctly or wrong, you will be given a new randomly selected loop.
The core audience
The application would be useful for the Djs, needing more than 24 hours in a day.
Nowadays, it does not always succeed to find enough time for your hobbies. With Dj Practice you can train your DJ skills anywhere and anytime both in the underground and in the bus, on your way to school or during breaks at work.


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