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Can you tweak it to allow downloading by "thumbs up" rating in addition to the date.
Attached is a Windows command line MFS_FTP batch extraction utility that I wrote in order to automate the process of extracting multiple shows from your Tivo/Tivos via a single process, and I thought that I would share it with the group.
The utility is intended to be run from the Windows Scheduler, so that on a specified interval, it will automatically run and extract programs that contain your specified "keyword(s)" in their filenames, which have been recorded within a specific day range.
In this way, rather than having to connect to my Tivo to see what has been recorded, select the files, and then wait for them to download before I can then begin editing them, I will have my shows waiting for me, so that I can begin editing right away.
I built this using the WinInet libraries, and as such, your PC will require Internet Explorer 4.0 or greater, since the required DLLs accompany this application when installing, and obvioulsy, since TyExtract is an MFS_FTP command line utility, you need to be running the MFS_FTP server on your Tivo.
The attached zip file contains the executable, tyExtract.exe, a README.TXT file with detailed usage instructions, an example .bat file setup (example.bat), and an example of the resultant messages that get generated when the utility is run (tyExtract.log).
Version History:
tyExtract v1.0.0 - New Release
tyExtract v1.1.0 - Coding optimizations (no feature changes)
tyExtract v1.2.0 - Automatic logging via -g flag, * for -s flag for downloading ALL recordings within a range.
tyExtract v1.2.1 - Coding optimization (no feature changes)
tyExtract v1.2.2 - Output command line arguments to log file, Fix day range bug, Add -x flag to auto-delete recordings after extraction.
tyExtract v1.2.3 - Coding optimizations (no feature changes)
tyExtract v1.3.0 - Added ability to point to a to a text file, via the '-s' flag, containing a list of show name 'keywords' to extract upon.
tyExtract v1.4.0 - Format output filename using '-n' switch, skip extraction if file already exists in local directory, include 'shutdown.txt' to shutdown MFS_FTP server upon completion.
Last edited by JohnSorTivo; 06-16-2004 at 11:46 AM.
Can you tweak it to allow downloading by "thumbs up" rating in addition to the date.
SAT-T60 Ver 3.5
I'm limited to the information that is supplied to me via the MFS_FTP server, in terms of the 'show name' and 'file create date'. If MFS_FTP could be modified to include, as part of the 'show name' string, a thumbs rating value, then it could be done. However, this is not currently part of the standard 'show name' string that does get generated.Originally Posted by osetivo
As basic 'show name' string looks something like:
{Seinfeld}{1996-10-17}{The Package}{11.00 PM Mon May 17, 2004}{CH32}.ty
So you can extract, using the "-s" flag on any of these sub-strings, but since "thumbs" is not a part of this string, there would be no way to know.
I've asked Riley about accessing the Thumbs Up in the mfs_ftp thread.
SAT-T60 Ver 3.5
this is a great application! thanks..Originally Posted by osetivo
would you consider allowing wildcards .. as in -s * so that it would transfer anything matching by date range switch. This way it would get everything, recorded.
can't wait to try it out!
(4) Hughes SD DVR40
(1) Hughes HR10-250
(2) xbmc XBOX X2 & xbit
Great idea. In fact, I've already started working on it (wildcards) for the next version. Just makes sense.Originally Posted by Hi8
In addition, I've begun integrating logging directly into the application, so that when passing another flag, '-g', you can enable screen messages to be written to a log file automatically.
Let me know how it works for you.
Last edited by JohnSorTivo; 05-18-2004 at 09:50 PM.
Just posted a new version (v1.2) in the .zip file above, that has added wildcard support, i.e. '-s *', so that you can download ALL recordings made within the date range specified via the '-d' flag, regardless of their show name.Originally Posted by Hi8
Also added automatic logging using the '-g' flag, so that screen messages will be automatically written/appended to tyExtract.log. This file will be located in the same directory that you have specified for your recordings to be saved, using the '-l' switch.
Last edited by JohnSorTivo; 12-11-2004 at 11:55 PM.
Originally Posted by JohnSorTivo
having trouble figuring out the 'day:day' switch. It seems to be off by 3 days... tried a few times with 0:0 0:6 finally after 3:3 it seemed to think that that was recordings for today. ??
here's a copy of the console results as the log doesn't show the commandline.
Code:G:\_downloads\_TIVO\TyExtract\tyExtract.12>tyExtract.exe -h 192.168.1.111 -s * - l d:\_tivo -d 3:3 -v -g Running in verbose mode. Attempting to establish connection on 05/19/04 at 19:46:35... Connection established with '192.168.1.111' on port 3105 Matching Show: The Tonight Show With Jay Leno-2004.04.29-No Title.ty Recorded on: Thu, April 29 Request range: Wed, May 19 to Wed, May 19 Sorry, recording does not fall within range Matching Show: The Tonight Show With Jay Leno-2004.04.30-No Title.ty Recorded on: Fri, April 30 Request range: Wed, May 19 to Wed, May 19 Sorry, recording does not fall within range Matching Show: The Pathfinder-.15 AM Wed May 19, 2004-No Title.ty Recorded on: Wed, May 19 Request range: Wed, May 19 to Wed, May 19 Show is within requested range Downloading 2.1 GB
(4) Hughes SD DVR40
(1) Hughes HR10-250
(2) xbmc XBOX X2 & xbit
also tried to get the "tmf" instead of the "ty" and it still search for the "ty" files...
I also tried to get recordings with SHO hoping to get recordings from Showtime .. the tmf files have {SHO} in the file name can I put that complete string in? including the {} characters? are there limits or "special" character restrictions?Code:G:\_downloads\_TIVO\TyExtract\tyExtract.12>tyExtract.exe -t tmf -h 192.168.1.111 -s SHO -l d:\_tivo -d 5 -v -g Running in verbose mode. Attempting to establish connection on 05/19/04 at 20:23:27... Connection established with '192.168.1.111' on port 3105 Matching Show: The Tonight Show With Jay Leno-2004.04.29-No Title.ty Recorded on: Thu, April 29 Request range: Mon, May 17 to Mon, May 17 Sorry, recording does not fall within range Matching Show: The Ellen DeGeneres Show-5.17-No Title.ty Recorded on: Mon, May 17 Request range: Mon, May 17 to Mon, May 17 Show is within requested range Downloading 888.0 MB
(4) Hughes SD DVR40
(1) Hughes HR10-250
(2) xbmc XBOX X2 & xbit
Thanks for the feedback.Originally Posted by Hi8
Are the "Recorded On" dates displaying correctly for your shows, and just not the request range?
If so, what Timezone are you in? Normalizing the Tivo filesystem time with your current localtime can be tricky, and I am doing some timezone offsets, etc, in an attempt to compare apples to apples. Also, since I am using your system time, make sure your date and time on your PC is accurate.
I'll get to the bottom of it once I get a bit more feedback. Interesting that it appears to be off by exactly three days. You are correct in that 0:0 should be equivalent to today. If you don't enter anything for the '-d' flag, which is equivalent to 0:0, does the "Request Range" actually show as 3 days into the future?
That's just a bonehead move on my part. It actually IS downloading the "tmf" file. In attempting to "clean" the file name to something more condensed, I inadvertently hardcoded the extension to .ty, regardless of the "type" specified. The actual file is right, just not the extension ;-(Originally Posted by Hi8
I'm going to remove the "cleaning" of the filenames all together for now, in order to get a revised version up ASAP. This will correct the extension naming error, and will write the output file exactly as it is provided by the MFS_FTP server. While verbose, at least it will be correct.
As far as what you can pass in via the "-s", show name flag, yes you can include the open and close braces, etc, in order to get more finite. You can essentially include any and everything that is actually part of the entire show name string, to the point that if you entered it exactly as it appears in your FTP client, you would end up making a request to download a single file. Just make sure to surround your name in double quotes if it includes any spaces, i.e:
-s "{Everybody Loves Raymond}"
Last edited by JohnSorTivo; 05-22-2004 at 03:19 PM.
Originally Posted by JohnSorTivo
I'm in EST (GMT -5:00) and my PC is in sync via timeserver -
and yes the recorded on time is acurate, if you notice that the last recordind matches and is downloading ...
and here is a dump I just made .. with -d 0:0 show the future dates...
Code:Running in verbose mode. Attempting to establish connection on 05/19/04 at 22:33:17... Connection established with '192.168.1.111' on port 3105 Matching Show: The Pathfinder-.15 AM Wed May 19, 2004-No Title.ty Recorded on: Wed, May 19 Request range: Sat, May 22 to Sat, May 22 Sorry, recording does not fall within range Matching Show: The Ellen DeGeneres Show-5.19-No Title.ty Recorded on: Wed, May 19 Request range: Sat, May 22 to Sat, May 22 Sorry, recording does not fall within range *** No shows with '*' found in your Now Playing List, recorded between Sat, May 22 and Sat, May 22. ***
(4) Hughes SD DVR40
(1) Hughes HR10-250
(2) xbmc XBOX X2 & xbit
Okay. I'll have to dig into my time calculations to see what is happening. I've only to date used the program on my machine, which is CST, and haven't had any problems, so I'll have start doing some debugging.
In the meantime, I've posted another update, v1.2.1, to fix the file naming convention error. Please give it a try with the various extensions for the "-t" flag and let me know if you now get what you expect.
Again, the resultant filenames will be much larger, as they should be a direct pass-through of what MFS_FTP provides, rather than me trying to "pretty them up".
I have an S1 DTIVO mfs_ftp running on port 24 I set the -p 24 but would never get any recordings, even thought the log sdaid it connected. Tried serveral times and dates.. nothing. I then went in and killed MFS_FTP and restarted on the default port 3105, everything worked after that, still had the 3 day issue but it transfered those files that matched. That was the only change I made, I took out the -p 24 and restarted mfs_ftp on default ---
(4) Hughes SD DVR40
(1) Hughes HR10-250
(2) xbmc XBOX X2 & xbit
Check the contents of your port.24.log in your MFS_FTP directory for errors. I've got the port stuff working pretty well. I shutdown my MFS_FTP server and started it back up on port 24 to see what happens, and it fails as well, and I see the following in my log:Originally Posted by Hi8
You can see that tyExtract is able to connect, but then is kicked out by the server with a socket issue. The same exact thing happens to me when attempting to connect using FlashFXP and smartFTP on port 24, so it appears to be an error while attempting to use this specific port (24).Code:catch close lastsock val "" 01:51:08:AM - 220 Mfs_Ftp ver 1.2.9p - {sock22} from "192.168.1.2:4170" 01:51:28:AM - 331 User name okay, need password. 01:51:28:AM - 230 Running in TiVo Mode. 01:51:28:AM - 250 Directory change successful. 01:51:28:AM - 200 Type set to I bgerror invoked with error " couldn't open socket: address already in use " re-initializing mfs_ftp close the current ftp connection and simply open another
Do you see the same errors in your log file?
I shutdown and ran on various other random ports (high numbers), such as 2000, 2222, 3333, and all worked perfectly. Try starting up on some of these ports, and let me know your findings.
Other items: I'm going to dig into the code today to see if I can determine what is going on with the "day range" being messed up for you. I've even reset my computer to your timezone, and still can't get the error to repeat.
Also, I've added to the top of the log file writing, the command line arguments, so that, for debugging purposes, it will first show the commands you passed in, followed by the resultant output. So in the next release, hopefully, in addition to the day range fix, this little change will also be incorporated.
Correct me if I am wrong, but the "day range" issue seems to be the last major outstanding issue, provided my last release resolved your issue with improper extension naming (always .ty), which I believe it should have.
Thanks for your help / feedback.


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Like this talented lady.
I bet they're taking her to Nurse K's ER, too...
Thank you, Lee, for sending this in!
A Blog detailing the insanity of my medical practice and the stupidity of everyday life.
Reminds me of the old tale of the guy who stole a prescription pad, only to get caught when he tried to fill a prescription for
MOFEEN 1 lb.
Because of that (and a 2-week hospital stay) I have a teddy bear named Mofeen.
Bwahaha! Sounds like she needs a note from her psychiatrist!
Who'da thunk they might actually call the doc?
What do you expect though, you can't fix stupid.
Some habits are obviously hard to break!
I wouldn't want to be around when she detoxes.
@Jess - Haha, good point!
Word verification - bootofa "I'm a bootofal princess!"
Dear criminal,
When you are on trial for a crime, please commit that crime during the trial to make it easier to convict you. Collapsing to the floor so that we then have to take you to the hospital just proves you have watched too much TV.
Thank you.
The brain trust at the Court House figured it out because she didn't look sick when she showed up with the note.
Crayzeez who are also stoopid have a dear place in my heart.
LOL! I love Moose's comment as well....Mofeen 1 lb....PRICELESS!
Props for being consistant, at least!
Holy Shit. Why the Hell was she even taken to the hospital? The trial should have continued with her on the floor.
Hilarious. But none too bright.
The first thing I thought of was the doctors handing out sick notes to the teachers protesting in Madison. I would say that if you are going to accept a fake sick note, then don't do it on camera.
Little Calf Creamery. Delicious homemade ice cream and food in Thousand Oaks!

subset: commoncrawl


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I know how hard it is to overcome the expectations of your family and friends once your treatment is over. They truly think you will just bounce back to your old self. You, on the other hand, don't even know where to find your old self. That and the strain of trying to stay strong and optimistic can take their toll. How many of us really take the time to realize what we have been through and just how much it has affected us? I did an earlier blog on depression that showed research and statistics. Depression is a big issue if you're dealing with it, so it deserves a revisit now and then.
Dealing with chemo brain is depressing, but depression and chemo brain are not the same condition. I believe that many people experience depression during and after breast cancer treatment than are willing to admit. Diagnosis is overwhelming; fear of death, surgery, chemotherapy and radiation are all things that can take its toll on anyone's psyche. For the survivor, the fear of recurrence and the struggle to regain control of your life can be the challenge that throws you into an emotional tailspin. Dealing with the onset of menopausal symptoms from treatment can also be a factor in depression
As reasonable as it is to expect that cancer survivors are going to feel a bit depressed, many survivors are still reluctant to discuss the symptoms with their family or doctor. The reasons aren't clear, but the majority of people suffering from depression need to be encouraged by someone else to seek treatment. Even if you have the strength to put on a happy face and pretend everything is okay, if under it all you feel emotionally raw and distressed, it is time to tell someone.
I have had people dear to me suffer from depression, and it got worse when they didn't address it. It is a real condition, and thankfully there are real treatment options. The one that worked for me was prayer and faith in God combined with the support of my friends. But first I had to tell someone about it (I started with God) before they could help me. I also sought out a Christian psychologist.
When you are looking for help, your doctor is a good place to start. There is no longer a stigma attached to mental issues. Just remember you have come through some pretty tough stuff. It's time to drop the act. After all, you're only human. You battled cancer and won, and now it's time to take on the rest of what ails you to become truly healthy, because your life is worth it. I know that some of you really are okay, but there are those of you who suffer the low points, and it is to those individuals that I am speaking to.
With all my heart,


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>If there were a relationship between diving after flying and DCI, we would expect to see a great deal of decompression illness on the very first day of diving indeed, some data suggests that there are more accidents on the first day of a planned multiday dive trip. Of the 88 cases reviewed from the Caribbean for 1994, 33 or 37.5 percent occurred on the first day. The remainder occurred on days two through seven. Given that there are thousands of tourist divers who fly to Caribbean and Pacific dive sites, these numbers are far too small to establish a cause and effect.
>Although no one can insist upon a 24-hour waiting period after flying, such a conservative approach to diving after flying is a reasonable idea it gives divers an opportunity to rehydrate, adjust to a new climate and time zone, and rest up after a long flight.


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The Cavaliers played a great game against the New Orleans Pelicans, but unfortunately lost with a final score of 100-89.
During the pre-game festivities, the Ohio State Highway Patrol Honor Guard presented the colors during the National Anthem. In addition, the Cleveland Police Museum sponsored 25 children from the greater Cleveland area that were a part of the "High 5" tunnel, wherein the children got the opportunity to stand on the court and high-five Cavaliers players as they took the floor for pre-game warm-ups. Each participant received a special t-shirt and got to interact with players before the game.
|Ohio State Highway Patrol Honor Guard
|Cavaliers CEO Len Komoroski and Memorial Fund Chairman & CEO Craig Floyd
|Photo from the Owner's Suite


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Denver, CO Pool Table Assembly
We assemble Pool tables
We assemble all makes and models of any pool table in Texas, Wyoming and Colorado
pool Table Assembly
We can help you with your pool table if you need it professionally installed, leveled, and the cloth installed on it.
Pool table installation is technical in nature and should be done by a trained pool table installer. Since we move pool tables we naturally have experience in the pool table installation side of the business.
On a side note, many people don't know that the best time to re-felt the pool table is during installation so if you are considering moving or buying a pool table, check your options for new cloth when we install the pool table for you.
During extensive leveling our technicians precisely set, shim, wedge and level the slates using sensitive leveling equipment to make sure your pool table installation is done to the highest quality for optimum performance.
You're also covered by our exclusive service guarantee issued by the only organization in our industry, the ABIA.
If you need us to bring the pool table up stairs, there may be additional cost. 1 pc. slates we cannot guarantee we will move but check for possibilities depending on the situation.
We will also pick up the pool table from a storage facility or your on site storage before we do the actual pool table installation for you. Just let us know the details of your job.
Pricing for pool table installation
The pricing on installation of your pool table will depend upon a few circumstances. If the table is in the room already, will there be stairs, what the table size is and if new cloth is needed for recovering the table during installation.
It helps to get the following information before contacting us, this will give you a head start on your job:
The ABIA guarantees all of our pool table installations for leveling and quality on all applicable pool tables for an entire year after service.


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Oil spill drill creates interest in Raglan
An Environment Waikato oil spill exercise in Raglan harbour attracted plenty of attention from local residents yesterday.
An Environment Waikato oil spill exercise in Raglan harbour attracted plenty of attention from local residents yesterday.
Environment Waikato has received about 1900 public submissions on its draft 2009-19 Long-Term Council Community Plan (LTCCP), almost half of them specifically concerned with the management of mangroves at Whangamata.
An Environment Waikato grant to Surf Life Saving Bay of Plenty (SLSBOP) has helped professional lifesavers meet higher demand for their services at Coromandel beaches over summer.
Environment Waikato contractors have successfully completed a major possum kill across almost 25,000 hectares in two priority pest control areas in north-west Waikato.
Environment Waikato's finance and audit committee has recommended the council calls for expressions of interest from firms capable of advising on the long term strategy, strategic asset allocation and implementation of the council's investment fund.
Waikato residents have only four days left to give feedback on Environment Waikato's draft 2009-19 Long Term Council Community Plan (LTCCP).
Environment Waikato and Waipa District Council proposals to make a significant financial contribution to maintaining the predator-proof fence at Maungatautari are about ensuring the continued operation of a unique native bird-breeding site, says EW deputy chairman John Fisher.
Environment Waikato has clarified that the new Pavlovich bus used on one of its services drastically cuts emission of fine particles (PM) and oxides of nitrogen (NOx), rather than carbon dioxide (CO2).
Coastguard Raglan, with support from Environment Waikato, is helping to educate boaties on how to cross the notorious Raglan bar and to be generally safer at sea.
Whangamata ratepayers are being asked for their views on a proposed new local rate to pay for removal of mangroves from their local harbour and coastal area.
Environment Waikato is inviting anyone who belongs to an environmental care group – or anyone interesting in joining one – to a networking field day on Wednesday, April 15.
A building currently used by Environment Waikato at 505 Grey St, Hamilton East, is now being offered for lease as the council restructures its accommodation.
Governance and management of the entire Waikato River catchment must remain within the Waikato region, says Environment Waikato chair Peter Buckley.
A new Coromandel bus service run over summer appears to have helped save people from possible drowning or serious injury, says Environment Waikato.
A Government ministry's Quality of Life survey showing widespread satisfaction with public transport in Hamilton is reinforced by latest figures which show a 25 per cent jump in city bus use so far this financial year.
Environment Waikato is helping a Waitomo farmer to become the first Waikato applicant to successfully gain a Government grant for planting trees under a regional share of the Afforestation Grant Scheme.
New figures show there were nearly 10,000 passenger trips on free Environment Waikato-supplied buses to and from the Night Glow during the Balloons Over Waikato festival.
In the spirit of these cash constrained times, Environment Waikato has adopted a more sustainable approach to ensuring its river barge, the Tamahere, is fit for purpose. Rather than replace it – as first planned at a cost of more than a half a million dollars – it will now be refurbished, at a cost expected to be less than $110,000.
Tight financial times have led to Environment Waikato deferring a decision on grants for community and school environmental initiatives for at least another three months. In addition, the council said it would not accept any new Environmental Initiatives Fund (EIF) or Enviroschools applications until the start of the new financial year in July.
Environment Waikato is reviewing its financial policies as part of the 2009-19 Long Term Council Community Plan (LTCCP) process. This review includes the investment advisory services the council currently receives and the management of its $51 million investment fund.


text:
Women's 2 ply lambswool scarf – 64
Women's lambswool scarf in cosy 2 ply, in a range of beautiful colourways from bold stripes to soft shades inspired by nature.
190cm x 23cm including tassels.
100% lambswool.
Knitted in Scotland by My Cosy Store.
SKU: LS64. Categories: women's lambswool, 2 ply scarves.


text:
These 48 Port LED patch panels takes up two rack spaces on server units and are a simple way to manage connections in data centers.
This is a Gruber System 2000 product and carries a Lifetime Warranty.
For product returns please contact email@example.com and request an RMA number.
All returns must have RMA number. No unauthorized returns are accepted.
Please include - Invoice #, purchase date, and description of the problem.
The Buyer pays return shipping cost.
The product will be replaced and shipped at no charge during the warranty period.
Gruber Communications 21439 N 2nd Ave, Phoenix, AZ 85027 Toll Free: (800) 658-5883 • Phone: (602) 863-2655 • Fax: (602) 257-43131984-2020. All rights reserved.
copper cable |
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- home
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Sketchcamp Grand Rapids designs sellout
Design associations AIGA West Michigan and IxDA Grand Rapids, together with digital agency Universal Mind, recently presented the first Sketchcamp Grand Rapids.
The Sketchcamp initiative started in San Francisco and has since migrated to Chicago and SXSW — and now Grand Rapids.
The idea originated out of the San Diego-based user experience community group, UX Speakeasy.
The purpose of the conference is traditionally focused on user experience, or UX, but the Grand Rapids event made its goal to provide instruction on a variety of techniques, at the introductory level, so participants could roll up their sleeves and explore the options available.
Despite being the city's first Sketchcamp event, this month's conference, at 38 West Fulton's Tech Hub, sold out and had a lengthy waiting list for the event with six presenters and workshops.
Individuals with a variety of design backgrounds, marketing and business professionals and a handful of students, spent the day re-connecting with their sketchpads.
Several of the attendees traveled from other parts of the state, including some from as far north as Traverse City, and one attendee flew in from California.
The messy art of UX sketching
As the morning kicked off, presenter Peiter Buick submitted one of the day's key points, which would be reinforced repeatedly by the other presenters.
"Sketching does not equal drawing, just as writing does not equal penmanship," he said.
Instead, Buick said that sketching is a rough or unfinished version of creative work, and its purpose is communication, not art.
He highlighted experiments that have shown the more finished a design looks, regardless of whether it is presented as a draft or not, the less likely someone is to suggest changes.
So when seeking colleague or client feedback, sketching can be a valuable tool for reaching the desired outcome.
Sketching also focuses the client on the design elements and not on elements like color or other conversations that should be discussed at a later stage in the project and often serve as early distractions.
Peiter Buick's usefulness of sketching
- The fastest way to iterate, build upon and share ideas
- Forces you to focus on solutions
- Facilitates the appropriate level of feedback
- Encourages collaboration
- Gives you the ability to quickly add context to what you're doing
Sketch typography
Molly Jaques is a local calligrapher and hand-lettering designer who regularly uses sketching as part of her process.
Her presentation focused on the three main aspects of her process when tackling client work: brainstorming, which focuses on developing the personality of the work and is akin to an artist working on a figure drawing; tailoring, where she takes the work chosen by the client and begins to finalize it, though not completely, so that there is still room for client feedback; and then, finalizing the drawing, which includes ink drawing or the vector image portion of the project.
Jaques also highlighted the point of not finalizing the work too soon and the challenge that finalizing presents in terms of losing detail or the feeling initiated by the sketching.
Seeing the lines of life
During his presentation, David Fik asked the question, "How many people here like to try new things?"
Several hands went up in response to the question, and Fik laughingly called out those individuals as not telling the truth.
Fik noted that brain studies have shown that humans are actually wired to not like doing new things and the same portion of the brain that deals with trying something new is also the part of the brain that processes pain. Thus, "change is pain."
As a result, the brain creates shortcuts, such as symbols and reinforced methods, which can be damaging to creativity.
Because of the way the brain naturally functions, Fik said the question should be, "How can we confound the hemispheres?"
He presented sketching as a tool for achieving that objective.
Sketchcamp Grand Rapids presenters
Jeff Reushel: Sketch + Design Thinking
David Fik: Learning how to see the lines of life through pencil and paper
Peiter Buick: The Messy Art of UX Sketching
Veronica Erb: Learning to Sketch through Sketchnoting
Molly Jaques: Sketch Typography
Chad Martin: Storyboarding Experiences: More Story, Less Bored


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Lender liability losses continue to rise among all financial institutions due in large part to the struggling economy, says Jay Isaacson, director of product management, Credit Union Protection, for CUNA Mutual Group (below).
Among credit unions, the number of lender liability claims grew 18% from 2010 to 2011, he says, and total paid losses on those claims jumped 30% during that time.
The most common claim: Defective notice of intent to sell, Isaacson says.
That's when the lender fails to provide notice to the person on the security agreement that it will be selling the person's repossessed or foreclosed upon property.
"It all comes down to the economy," Isaacson says. "It's not recovering as quickly as we'd hoped, and we're still seeing elevated levels of repossessions and foreclosures. Those events can be traumatic—they can create an emotional situation where [the member] brings a claim against the credit union."
Reducing exposure to this risk starts with basic due diligence, he adds.
Also, "be particularly mindful of U.S. Bankruptcy code, Fair Credit Reporting Act, Unfair and Deceptive Trade Practices Act, and Fair Debt Collection Practices Act requirements in your collection and reporting procedures," advises Brad Mundine, CUNA Mutual's senior manager, Credit Union Protection Risk Protection.
"Consult with an attorney to ensure processes, procedures, and other member-facing documents such as 'notice of intent to sell' are in compliance with these acts," he continues, "as well as other applicable statutory laws that may apply to your credit union. Damages resulting from violations of these laws can be significant."


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Minnesota Brings Performance Management to Cities
Minnesota may well be the only state even attempting to bring performance measurement to local government, according to experts.
When Bloomington compares its finances with those of other suburbs, it comes out the best. Officials present slide after slide comparing the suburb with its peers and depicting its residents as blessed when it comes to taxes and the cost of services.
But when Lakeville runs similar sorts of numbers, it also claims to come out best. Bloomington isn't even close; in fact, on Lakeville's list, Bloomington is the freest spender of all.
Long after the state's school districts found themselves yanked down a path toward clear, crisp rankings of academic success, the relative performance of cities and counties remains mired in confusion. But a new state program called "performance measurement" is making a tentative start toward providing apples-to-apples comparisons that could finally tell residents how their cities measure up.
Topics covered include road conditions, crime trends, parks, libraries and human services. In some cases, such as crime, the data already is public, although it isn't always easy to find or analyze.
So far, the new system sidesteps some of the touchier issues, such as which places offer the best value for money -- the sort of questions people do ask, and that result in the kinds of disconnects on views in Bloomington and Lakeville.
Nevertheless, it's beginning to offer some glimmers of insight.
Who guessed, for instance, that Edina would wind up reporting one of the more badly decayed systems of streets? Certainly not the mayor of Duluth, a city with abysmal results on the same measure.
"We know our streets are in terrible shape and we knew they would be reflected in those numbers and they were," said Mayor Don Ness. "We are not a wealthy community and that makes it tough. Edina may look at our numbers and say 'that's terrible,' but we don't compare ourselves to Edina."
As of this month, there's a way for him to find out with the click of a mouse that Edina really doesn't have much reason to gloat. Its pavement condition rating is markedly lower than even Minneapolis'. Said City Engineer Wayne Houle: "It's a big concern. We probably should have started attacking it 10 years before we did."
A novel approach
Minnesota may well be the only state even attempting to bring performance measurement to local government, said Tracy Burrows, a Seattle-based expert in the field.
State Auditor Rebecca Otto, who helped devise the measures and now oversees the system, agrees.
"It gives us both hard numbers and public perceptions," she said. "It allows for an informed conversation between local governments and their constituents. If the roads are bad, the ratings will show it."
But both also agree that the system, in its infancy, still has some holes to fill:
--It's purely voluntary, so even though the state spends hundreds of thousands of dollars, collectively, to help induce them to take part, most are not. Less than a third of counties and just 7 percent of cities have signed up. Some fear, said Otto, that the results will be "misused."
--The system is heavily based on citizen surveys, and some of the response looks halfhearted at best. Eagan officials, for one, admit that their exemplary results need to be taken with a grain of salt, considering the tiny response rate.
--The result of the whole program is just a big pile of paper, figuratively speaking. The state is not compiling the results into any sort of comparative ranking that would show which ones are the top or the bottom performers.
"We don't have the staff," Otto said. "We're so sorry, but we have one less person in technology than we had before. If the Legislature doesn't allow us the staff to do the work, there are limits to what we can do, which is disappointing to me."
State of the roads
Even so, the data released this month offers a glimpse into key issues such as street conditions, which experts agree is a huge emerging problem, as local entities let infrastructure worth hundreds of millions of dollars crumble.
Cities and counties were asked to disclose either a scientific assessment of the overall condition of their pavement, if such a thing has been done, or to survey citizens on what they are seeing. Although it may seem circular to inform citizens of what's going on by asking them what's going on, it turned out that the citizen surveys are pointers to very real underlying conditions.
A Star Tribune analysis of the data showed that Duluth had by far the greatest share of residents rating the streets as "poor": 65 percent. That's more than 20 percentage points worse than the next-worst figure.
That kind of sudden clarity, Ness agreed, may well echo in Duluth itself in the months and years to come as it decides how to spen its money.
Edina reported an exceptionally low objective rating of pavement quality: just 53 on a scale of 0 to 100, where 0 means falling apart and 100 means buttery smooth. Waconia carded a 62, but most of the few places to fess up on this score were in the 70s, including Minneapolis, Bloomington, Apple Valley, Woodbury and Savage.
At the high end of the scale, Eagan wound up with an off-the-charts level of admiration: 30 percent find their streets "excellent." And that is a clue to something that's real, said public works director Russ Matthys. "Our policy is that there shouldn't be any neighborhoods, any areas, any streets, that are less than 45," largely because when they droop to a certain point, they become hugely costly to fix.
'Hard to compare'
The new system seeks to supplant, or at least offer an alternative to, the age-old problem of city and county officials devising their own measures, cherry-picking statistics and comparison groups -- resulting in disconnects like the one involving Bloomington and Lakeville.
Asked how her city could look so good in its own analysis while sitting at the high-spending end of Lakeville's list, Lori Economy-Scholler, Bloomington's chief financial officer, said: "It's kind of hard to compare Lakeville to Bloomington" for a variety of reasons, starting with Bloomington's huge commercial sector, which both pumps money in and demands city spending.
John Jernberg, an analyst on Otto's staff, said comparisons need to be made based on a sophisticated cluster of city type, age and wealth.
Having said that, he added, they also seem to want to be treated "like snowflakes," each completely unique and impossible to compare. "Yet when you ask how they themselves compare, they'll say, 'per capita,' and you say, 'Exactly.'"
(c)2012 the Star Tribune (Minneapolis)
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Guitar Recording: Max your Axe with these Timely Tips and Rockin' Reviews
IT'S AMAZING WHAT YOU CAN DO WITH GUITAR RECORDING THESE DAYS. It's not just about sticking a mic in front of an amp, but about plug-ins, pedals that think they're shrunken rack units, affordable ribbon mics, small amps that sound huge, mobile laptop recording, hex outputs, and much more.
In fact, if we changed the name of the mag to "Guitar Recording," we'd have enough material to fill up at least a year's worth of issues. But for now, we've squeezed as much as we can into this month's roundup.
In addition to reviews of five hot new products, we've also solicited the brainiacs at my Sound, Studio, and Stage forum to reveal their secrets on guitar recording—and they came through with some pretty amazing info (once you try Mike Shelton's Mid/Side recording technique, you may never record guitars the same way again). So tune up your guitar—or if you have a Gibson Robot Guitar, have it tune itself—plug in some cables, grab your pick of choice, and enjoy the latest scoop on the art of recording guitars. (Note: All prices are suggested list prices.)
TIP: Instead of doing my perspective of how the recording should be done, I ask the musician to get his sound. Then I start setting up the mics—Shure SM57 next to the amp, off-axis, for the "bite" of the sound then 20 inches away, a large condenser mic (M-Audio Solaris and Groove Tubes GT 67) for the added body. Love that Groove Tubes! I may add a third mic as well, and I record all of them. Then, I send a straight DI to the computer and try some plug-ins to beef up the sound—Sans Amp (Pro Tools) as a preamp, iZotope Trash for fine EQ/Compression settings and some distortion, then Eleven (Pro Tools).
On bass, it's pretty much only a DI and plug-ins, with a compressor between the bass and the audio interface to control the peaks if that's part of the sound. —Gus Lozada
IK Multimedia StealthPedal Deluxe ($449.99 Deluxe, $269.99 Standard)
IK Multimedia got an early start with amp sims, and now has a very complete product line for guitarists with multiple "powered by AmpliTube" stand-alone/plug-in software programs, as well as hardware (like the outstanding I/O Stomp foot controller). StealthPedal, a Mac/Windows USB interface built into an extremely sturdy, all-metal expression pedal, is the latest addition to the roster.
Two hi-Z/line audio inputs accommodate stereo instruments like Chapman Stick, or a guitar and (mono) drum machine output. However, stereo isn't preserved through AmpliTube's mono signal chain, so this feature is most relevant with host software, or for switching between two instruments onstage. There's a 1/4" input jack for an additional expression pedal, and another jack for connecting up to two footswitches. Although StealthPedal is designed to control the bundled software from IK, there's a useful generalpurpose MIDI controller application that can assign the pedal/footswitch and remote switches/additional expression pedal to different MIDI channels, controllers, ranges, etc. This takes StealthPedal beyond being an "IK-only" product.
Audio outs consist of stereo balanced/unbalanced outs and headphone output (all audio connections are 1/4" jacks, except the 1/8" headphone jack). There's also a USB connection, and three status LEDs (status and with AmpliTube, Level, and Tuner). Resolution is 24-bit, up to 48kHz.
The Deluxe version includes AmpliTube 2 and Ampeg SVX; given their cost and the pedal price, that's a good deal. The standard version includes AmpliTube 2 Live and Ampeg SVX Uno ("lite" versions with an upgrade path). Both versions include Riffworks' T4 recording software and AmpliTube X-Gear—a "shell" for IK products that lets you mix and match modules from the various AmpliTube-based programs (e.g., use an amp from AmpliTube Jimi Hendrix, with a cab from AmpliTube Fender).
After installing the Windows drivers (the Mac doesn't need drivers), I was up and running. The audio quality is on the same level as the pedal's excellent build quality. Tested as an audio interface for Ableton Live, the roundtrip latency for reliable operation was around 15ms (most programs measure only input latency, and would report it as being 7ms).
Tying the pedal to parameters is easy, as X-Gear incorporates a window where you can assign the pedal and footswitch, as well as the external footswitches/pedal, to particular parameters (as well as set ranges). You can control different parameters in different presets, but you can't control two parameters at the same time from the pedal unless you use StealthPedal as a MIDI pedal, and set up control via X-Gear's MIDI Control option.
Finally, in case you're not familiar with AmpliTube itself, I'm a big fan of how it sounds. Every amp sim is different, but AmpliTube has the "clean transition to overdrive" thing down, allowing it to get subtly crunchy tones as well as clean sounds and full-out distortion.
StealthPedal seems intended for live performance (just add a laptop), but also provides a high-quality interface for guitar in the studio—the icing on the cake is MIDI control possibilities for non-IK devices. I really didn't know quite what to expect when this showed up for review, but I'm definitely impressed.
Strengths: Built like a tank. Integrates smoothly with Ampli-Tube X-Gear. Stereo I/O for studio applications. Excellent sound quality. Accommodates additional pedals and footswitches.
Limitations: No mic input for studio use. Pedal can only control one parameter at a time in X-Gear unless used as a MIDI pedal.
I try to get as many feeds as I can—direct from the guitar, direct from the effects pedals (stereo if possible), closemiked amp, and distance-miked amp. Who knows—the sound you want might just be one of them, or all of them. And use new strings for a bright, clean sound. —John Sayers
For fat power chords or rich distorted sounds with an open-back cab, mic both the front and rear of the cone, record two tracks, and reverse phase on one of them. Pan them oppositely for broadness (good on rhythm parts) or centered for a focused thickness (better for solos).
I'm currently using a DSP amp emulator I designed for my Sonic Core SCOPE system [Alfonso designed Adern's Mojo amp sim —Ed.]. With amp sims, monitor the processed sound while you record the dry guitar sound. Apply the amp emulation on the recorded sound, because as the song progresses, you might want to tweak the amp sound differently. —Alfonso D'Amora
If you get a great sound coming from a nice tube amp, you can almost throw an SM57 randomly a foot in front of the amp and end up with an extremely good sound. If you are going for something other than traditional guitar sounds, that's another matter.
Also, people often overlook the creative power of a few pedals. A modest collection of pedals that you can tweak and re-sequence often provides a wider palette of cool sounds than some of the more advanced DSP options. —Ronan Chris Murphy
Native Instruments Guitar Rig Mobile ($119)
With more musicians recording on laptops, several companies have introduced mobile-oriented products—including Native Instruments, a veteran of guitar-oriented software and hardware. Guitar Rig Mobile follows up NI's Guitar Rig Session, which is about twice the price and includes more I/O (for my review of Session, check out www.harmony-central.com/ articles/reviews/ni guitar rig session/ ).
The Mobile interface box is tiny—about the size of a pack of cigarettes—weighs only 3.2 ounces, and would fit in any laptop bag. Despite the low price, the package is complete: software, USB cable, Quick Start guide, and a one-pager on getting up and running with Windows XP/Vista or Mac OS X. It doesn't get much simpler than that.
I/O includes a 1/4" input jack, 1/4" stereo output jack (for headphones or driving a mixer, active monitors, etc.), USB connector, and side level controls for input level and output level. Two LEDs indicate input signal present and USB connected. Done!
You get drivers, and Guitar Rig 3 LE (VST, RTAS, AU). As a confirmed Guitar Rig 3 user, LE is limiting compared to the full version; it's kind of like going into a gourmet restaurant and only having the soup. Sure, the soup is good, but the entrée is something else altogether.
That said, you get two guitar amps (a "Marshall" and a "Twin Reverb"), bass amp, and 12 effects: reverb, delay, chorus/ flanger, phaser, two distortion boxes, auto filter, wah, graphic EQ, volume adjustment pedal, noise gate, and compressor. Two digital recorder modules can feed signals into Guitar Rig 3 LE or record your playing; for example, when tweaking a preset, you can record a riff and play it back while you tweak, and it's easy to grab an idea when inspiration strikes. As expected, there's also a metronome and tuner.
The converters offer resolution up to 24-bit/192kHz. As someone who feels 96kHz sample rates really do make a difference with amp sims, I'm glad to see that option—especially because a modern laptop running a stand-alone app can handle 96kHz without problems. As to 192kHz, I could care less but as the Cirrus Logic converters (also used in the Rig Kontrol 3) run at that rate, I'm sure NI saw no downside to making that option available.
Installation is the usual deal of installing Windows drivers (props for accommodating 64-bit Vista), or just plugging into a Mac. You do need to go through NI's Service Center to register Guitar Rig 3 LE; this may seem inconvenient, but I've come to appreciate how it informs me of updates and allows easy authorization management.
Guitar Rig Mobile works for studio or stage. Some people even run Guitar Rig on a netbook, which sure beats carrying around a pedalboard and amp—just plug the Mobile I/O output into a mixer or PA system.
It's likely you'll tire of Guitar Rig LE 3 after a while; although you can upgrade to the full version for $289, the price-conscious may find upgrading to Guitar Rig 3 XE attractive—the $59 upgrade fee gets you six amps and 21 effects (interestingly, the ones I tend to use the most often). It's a really good deal.
Overall, NI hits the target with Guitar Rig Mobile. For under a hundred bucks street you get convenience, sound quality, and enough software to get you started (and for some, it will be all they need). That's a tough price/performance ratio to beat.
Strengths: Super-portable. Quality audio. Goes up to 192kHz sampling rate. Includes useful software, with upgrade path.
Limitations: Plastic case, not metal.
A lot of classic guitar recordings were done on analog tape—and the preamp matters a lot too, especially with an SM57, and even more especially if the amp is loud—the pres need enough headroom to take the higher levels. Imagination doesn't hurt, either: Keith Richards recorded a couple of tracks on Sticky Fingers with a Fender Champ stuck inside a toilet. Muscle Shoals studio was remodeling their restroom, and the old toilet was sitting outside the door. Keith was getting frustrated moving his amp and mics around and still not getting the sound he wanted, so he stuck it in the toilet and that worked.
I've certainly done the "stick an SM57 in front of a great tube amp and let it roll" thing enough times, but I can't say I always get the best possible sound that way. My preferred technique is to use a dynamic mic just off the speaker, and at a slight angle, whether it's the SM57 or a Beyer M88 or a Heil PR30 (these days it's usually one of the last two). Then I place a second mic, usually a large diaphragm condenser mic, between 1 and 3 feet off the amp. Move 'em around till they sound good. —Lee Flier
Use a looper pedal, re-amp box, or Line 6 BackTrack to play a pre-recorded guitar loop through the amp while you move the mic. —Fabian Smith
When recording guitar amps, I use what I call "Split M/S," basically a modified M/S (Mid/Side) setup. I place a cardioid mic close on the grill doing the typical voodoo—edge of cone vs. voice coil, angled vs. straight on, etc.—whatever it takes. Then, I use a Figure-8 mic a few feet back in the room, with the null pointed at the amp. Treat the two mics as an M/S pair, and decode to stereo. The distance imparts a bit of "pre-delay" that allows the direct sound to hit first, which makes the room sound seem even bigger.
I've placed the Figure-8 mic as far away as 7–10 feet in a few great-sounding big rooms. Sometimes I use the same mics (AKG 414s work nicely, Royer 121s can be really warm), other times I've used different mics.
When double-tracking with this technique, move the Figure-8 mic around in the room to get different reflections. Or, move the whole setup around in the room. For the rougher Keith-y type parts, move the Figure-8 mic closer and don't use as much in the track.
For some variations, try placing the amp a few feet from a wall, firing along the wall. Say you're looking at the amp and the wall is on the right: Set up the Figure-8 mic so the null faces the amp, and one side faces the wall a few feet away. That's your "Right" track. Next, move the setup so there's a wall on the left, and there's your "Left" track. Now put up the stereo tracks for a real stereo vibe. Also, for some fun textures try compressing the Figure-8 or cardioid mic differently before decoding: Squash the close mic/expand the side, expand the close/squash the side, etc. These techniques work really well when re-amping, and also with bass that has a lot of high frequency info like slap bass. Just roll up the HPF on the side mic to about 600–800Hz so you don't mess with the bottom end's phase integrity. —Mike Shelton
I use two mics, one bright (like a condenser—Neumann U67, Shure KSM44, Røde NTK) and one dull/soft—like a ribbon (AEA R84 or R92, Royer 121, etc.). Make sure the diaphragms, not just the front of the mics, are the same distance from the source. Blend to taste with a room mike as well. More tips:
· Use two amps.
· Do double and triple takes with the same or different EQ on the amp. Turn off the reverb for this.
· Try different picks—they sound different.
· When overdubbing, listen to the sound you're recording way down in the mix to make sure it works with the other sounds that are already present. —Halljams
I like smaller, lower-wattage amps. They saturate earlier, allowing you to get "that" sound at lower volumes, without "over-exciting" the room and creating unwanted resonances/rattles (or upsetting the neighbors). I frequently place a dynamic cardioid mic up close (the Heil PR30 is my new favorite mic for this), and a large-diaphragm condenser several feet away as the distance mic (e.g., Lawson L251).
Because I record in a room that sounds terrible, I surround the distance mic with RealTraps MiniTraps acoustic treatment panels, which take a lot of the poor-sounding reflections out of the mic while allowing me to record far away from the amp. With these panels, I can record with the distance mic in omni for a gorgeous, full sound. This also works with acoustic guitar; with the panels, I can record the acoustic guitar about 2 or 3 feet back in omni, and it sounds beautiful. I'll typically aim the Lawson L251 at where the body meets the guitar's neck.
Regarding bass, several years ago I was going to record a bass player who always got a fantastic tone both live and in the studio, so I was curious to see what he was using. He walked in with a Fender P-bass and a tiny Roland Bass Cube 30. That was it. I used an Audio-Technica AT4060 through a Peavey VMP-2 tube mic preamp, and it sounded gorgeous and warm. Sometimes small amps can be shockingly good for bass.
One last tip: Aim your amp into odd-sounding places, such as floor heaters, showers, staircases, open dryers, metal trash cans, etc. Place the mic inside the odd place (in the floor heater looking up, inside the shower, down at the bottom of the stairs of a staircase, inside the open dryer, etc.). No plug-in or effect can touch this. —Ken Lee
There are alternatives to the standard SM57; I've gotten better results from the Audix i5 and Sennheiser MD 421. Also, it's worth mentioning that most DAWs have a "loop recording" function that lets you loop a section of a song and then record multiple takes without needing to hit record again. This is a great feature for recording another player, it helps keep them focused because you can minimize distractions from the recording process. —Mike 064 Freeman
Line 6 POD Farm (from free to $299; see text)
Line 6's GearBox software was released shortly after the fall of the Roman Empire, when Europe was in chaos and guitar amps were hard to find. Well not quite, but it's a testimony to Line 6 that their GearBox software has stood the test of time so well.
POD Farm has a great many similarities to GearBox, as well as significant differences. There are two versions, POD Farm (similar to the GearBox Silver bundle) and POD Farm Platinum, which has every model Line 6 can throw at it, including the model packs. Also, you can choose to authorize via iLok, or use Line 6 hardware as a dongle. If you already have model packs, they'll port over to POD Farm when you upgrade.
But first, if you have any Line 6 gear, run the Line 6 Monkey to see if you're eligible for a free POD Farm license. For some other Line 6 products, you can get an update for $49; the iLok version (which doesn't work in stand-alone mode—VST/AU/RTAS plug-ins only) runs $99 for POD Farm and $299 for the Platinum version, but you can get a 15-day free trial. Visit the Line 6 website for details.
Operationally, there are three main differences compared to GearBox.
· The interface looks much cooler, with a Rolodex-type flip chooser at the top if you select "Gear" mode. You can also select from menus, or both—e.g., click on the Delays menu, and the chooser will flip to the selection of delays, where you can then flip through the options.
· You now build chains via drag-and-drop into the lower half of the screen.
· Best of all, you can now assemble two parallel chains. Before, I had to create a parallel track and insert another plug-in; this is a lot more convenient.
What hasn't changed is relatively inflexible routing of effects—you can't freely place any effect wherever you want it. Most situations are covered, though; you can put up to six effects before an amp (providing the first one is the Noise Gate, otherwise you're limited to five). To help sort this out, when you drag-and-drop a device into the chain, little arrows show where the effect can go. If the arrows appear on an existing effect, then dragging the effect replaces the effect already in that position. For most applications, the routing issues won't be a big deal but for some of my "specialty" sounds, it's a limitation.
In addition to the Gear view, you can show the selected piece of gear's panel in the window's top half by choosing Panel view. The knobs are nice and big, making them far easier to manipulate onstage compared to GearBox. Similarly, you can choose to view Presets, Tuner, or Mixer. From the latter, you can adjust settings for Line 6 hardware if you're in standalone mode—again, more convenient than GearBox.
GearBox with a new skin? Yes, but that's only part of it. The Dual Tone option is a huge deal, and the flip view can make it easier to find a particular piece of gear. I also appreciate being able to run POD Farm without Line 6 hardware—although I use Line 6 hardware a lot anyway, so I'm equally glad Tone Direct Monitoring didn't go away.
But most importantly, POD Farm can make some absolutely wonderful sounds—and that's the bottom line.
Strengths: Dual Tone option is great. Flip-style browser is more than just eye candy. Preserves existing GearBox presets and model packs. Free update to many Line 6 gear owners. Better value than previous incarnations.
Limitations: Relatively inflexible effects placement. Non-resizeable window. No new effects or amp models compared to what was previously available.
Don't be lazy—don't use the same amp and mic setup for all of your tracks. Try a different amp, and/or use a different mic for the overdubs—or both. Did you wax a heavy, dark crunch rhythm tone, and now you want a bright accent part? Pull down that ribbon mic and stick up a C414 or other "brighter"-sounding mic, and do your sparkly accent part through that. I'm also a fan of small amps. I currently own about eight different amps, all 25W RMS or less. It's not about disturbing neighbors (my studio has great isolation) but we're not trying to fill a large club; we're trying to wax cool tones. A smaller amp will be less likely to saturate the room and drive it into acoustic compression, and you can crank it to the point where those power amp tubes work hard—without deafening everyone. Also, bleed among players in a multi-player tracking situation is less of an issue.
With mic placement, aiming it on-axis, directly at the center of the speaker's dustcap, generally sounds brighter while moving it out to the edge of the speaker's surround generally gives a fuller, warmer tone. Sometimes I like to have the mic a couple inches from the speaker's edge, but at about a 45 degree angle so it's aimed more towards the dustcap; this gives a fairly balanced sound.
Distance from the source can give distance on the recording. Don't be afraid to move one or more of your mics back a foot, or even several feet from the amp.
For stereo, I often run two different-sounding amps (e.g., a Vox and Fender) in two different rooms, with each having different types of mics . . . e.g., C414 on one, Beyer M160 on the other. Of course, watch for phase cancellation, but feed a bit of stereo effects into a rig like that and the sound really blossoms. And with a dual amp setup, you can switch from one sound to another without having to go out and rearrange the setups—just select the one you want to use for a particular part. Toss in an EQ pedal (the very inexpensive Danelectro Fish and Chips and the Catalinbread Varioboost are personal favorites), a compressor, and a few nice overdrive/distortion/fuzz pedals, and you can get a lot of different sounds without leaving the control room.
Two more tips: Work those guitar knobs! Many amps, and even dirt pedals, will respond differently with just a simple twist of the tone and volume knobs. Also, cocked-and-locked wah pedals are fantastic tools. Kick the wah on, sweep it until it's emphasizing a frequency that you find complementary, then leave it alone and play. —Phil O'Keefe
Peavey Windsor Studio ($499.99)
There are a zillion small guitar amps out there, so why is Peavey getting the nod for this roundup? Simple: The Windsor Studio was not only designed with studio applications in mind (gee, ya think the name gives it away?), but includes several desirable features that make it unique among amps for recording guitarists.
The single-channel amp architecture includes a preamp built around two 12AX7s, and a nominal 15-watt RMS power amp based on a single-ended EL34 running in Class A mode, with no negative feedback. However, the Windsor treats the output tube as a "plug-in"—you can replace the EL34 with a 6L6GC, 5881, KT66, KT77, KT88, EL34, 6550, or KT90 (the output varies from 10 to 20 watts depending on which tube you choose). Because the amp was designed from the ground up for swapping tubes rather than having it be a "hack," there's no need for re-biasing. Furthermore, the Windsor Studio Hot Rod Tube Pack ($179.99) is available as an accessory, and contains a collection of output tubes (KT77, 6L6GC, 6CA7/EL34, KT66, and KT88).
If you're a fan of ReValver Mk III (Peavey's softwarebased amp sim) and messed around with exchanging virtual output tubes, you know what kind of a difference this can make to the sound; being able to translate that into the hardware world is pretty cool. It appears someone at Peavey can't tell the difference between hardware and software . . . and that's a good thing.
Two other features are extremely helpful when a band is cutting tracks together and you're trying to minimize leakage. The first is a passive XLR direct out (with transformer, which I feel is an important element when trying to get vintage sounds) that taps directly off the speaker out, and includes mic emulation. The other is an output attenuator (Peavey calls it "Power Sponge") that presents a constant impedance to the power amp, so you can crank the power amp up but attenuate the overall level without changing the basic tone. Changing the amp output level doesn't affect the direct out, so you can nail the direct sound first, then work on the miked sound if you favor the direct+mic approach.
In conjunction with the direct out, this means you can get a loud amp sound, dial the volume down to where leakage is minimized, and run a direct signal so that you don't have to mic the amp and pick up other instruments. Obviously, this is also good for doing overdubs in situations where controlling noise levels is a consideration (and on stage, you can use this feed for the PA to avoid miking issues as well as have more control over levels).
There's also an effects loop, but this one isn't just for patching in line-level studio processors (e.g., digital reverb, vintage compressor, etc.) because the loop return's input impedance is 1 Megohm. This makes it compatible with ancient stomp box effects that want to see the highimpedance input typical of a tube amp. Note that you could use this as an auxiliary input that bypasses the preamp stage entirely, but I wouldn't advise it as there's no level control "downstream" from the loop return.
If the single-channel operation is a concern, the Windsor does have high- and low-level inputs, and also a Boost button footswitch that ups the preamp level. However, you won't find any MIDI control over any of the amp parameters; if you want to change settings dynamically throughout a song, you'll need to punch or overdub.
Also note that the cabinet is open back, so you can do the old trick of miking the front and rear of the speaker, and throwing the rear out of phase.
The studio bells and whistles wouldn't mean as much if this wasn't such a fine-sounding amp that also works for stage use. But the Windsor Studio wears both hats convincingly, and for those who like the characteristics different output tubes impart to a sound, simply use a different "plug-in"—I mean, tube. If you've been looking for a "little amp" to add to your roster of studio tools, you can't do better than this. It packs a helluva punch in a compact package.
Strengths: Gets high volume sound at low levels. Can swap output tubes without re-biasing. Emulated mic out. All-tube amp topology. Effects loop. Switchable speaker impedance. Includes spring reverb.
Limitations: No parameter control via MIDI.
I used to just reach for an SM57. But one day when my (original Oz-made) Røde NT1 was out on its stand (actually, it's always on its stand, socked up, as it's my favorite for my own voice and acoustic guitar), I put the stand over on its side and used the pop screen arm to prop the mic up in front of the amp (about 6 inches out, off axis) on my Fender Blues Jr (a single 12" combo amp). I was very surprised by the definition and sense of air—it probably had more room than I was used to, but it also seemed to capture my tone (as well as the obnoxious Fender self-noise!) better. I'm a clean tone guy and I doubt the NT1 would work for certain distorted sounds, but for what I typically do, it's now my first reach. —TK Major
For acoustic guitars, I move a KM-84 around in front of the guitar until I find the sound I want, which, nearly all the time, is what the guitar sounds like. Keep the mic away from the sound hole because that's where all the bass comes out. While it's not right for every guitar and every sound, a small diaphragm cardioid mic at the player's ear level about a foot out from his head and pointed downward toward his left knee (reverse for a left-handed player) often gets a pretty realistic sound. If it's a contemporary song with drums and electric instruments, use EQ to cut a lot in the 200–500Hz range. —Mike Rivers
Eventide PitchFactor ($579)
In a previous article, I pointed out how amp sim software is a real bargain— for example, the effects in Waves GTR 3 are based on the same algorithms used in their big-bucks bundles. PitchFactor does the same kind of thing for hardware: Although pitched (sorry, couldn't resist!) to guitarists and priced like a high-end pedal, it puts Eventide's Harmonizer technology into a more affordable package that's suitable for more than just guitar.
One look at the back panel, and it's obvious that this is not your typical floor pedal. Ins and outs are stereo (with jacks for each channel, so you can do mono), and there are switches for setting input and/or output levels to line and/or guitar. There's a class-compliant USB port for software updates and MIDI (and maybe someday for treating the PitchFactor as a "hardware plug-in" for DAWs?), and jacks for an optional expression pedal or footswitch you can tie into the patches. Incidentally, I highly recommend using an expression pedal. It not only controls strategic parameters in the factory presets, you can program it to control parameters in your own presets as well.
I was initially disappointed when I saw there are "only" ten algorithms. However, these are like "Eventide's Greatest Hits" with intelligent harmonies (up to four voices), delayed/pitch shifted sequences, arpeggios, unison options for thickening, an extremely groovy "Synth" algorithm, etc. What's more, the 11 controls—I'm assuming that's a coincidence, not a Spinal Tap reference— allow for a huge degree of preset customization when saving into the 100 user presets, which can also be classified into banks.
The harmonies have that glitchless "Eventide" quality that sound more like you double-tracked a guitar to create a separate harmony line. I fed it with both clean and highly distorted signals; the latter was a real treat, as it gave the equivalent of polyphonic distortion effects coupled with harmonization. And although Eventide cautions that the harmonies work best with single notes (and they do), if you hit another note accidentally, or even hit a chord, the sound doesn't turn to glitchy garbage but remains relatively clean, even though the harmonies aren't well-defined.
That's a big deal.
For harmonies, you do need to specify a scale and key; this isn't like the DigiTech or TC boxes that "listen" to your instrument and derive harmonies from that. I don't consider this a problem, though, because a "Learn" function can analyze a chord you play, tell you the key you're playing in, and create the appropriate harmony notes.
You should also know this is a deep box—far deeper than we have space to explore here. There's extensive MIDI control (via 5-pin DIN connectors or over USB) if you want to automate changes with a sequencer; PitchFactor recognizes pitchbend, continuous controllers, program changes, and MIDI tempo sync, although you can also do tap tempo. The three footswitch buttons also provide functionality beyond bypass in/out, and just a slight turn of one knob can put you in a whole different sonic space. Even the documentation is good, which will be appreciated by anyone who wants to get the most out of this box.
It was almost a year ago that we ran a roundup on "Studio Meets Stage"—gear that's equally at home in both environments. Had PitchFactor been available at that time, it would have been an ideal candidate. I even tried using it as a DAW external effect for processing existing tracks, and in terms of sound quality, it was definitely up to the task.
Granted, PitchFactor is no match for something like Eventide's Eclipse processor—but the MSRP is about 20% as much. If all you really crave is a roster of Eventide's best Harmonizer- related effects, PitchFactor will save you enough money compared to Eclipse for a decent vacation . . . or at least, a really good sushi dinner for two, every week for a year!
Strengths: Truly cool, innovative sounds. Suitable for a wide variety of signal sources. Eventide sound without the price tag. Extremely deep and flexible for tweakheads—or you can just dial up presets. MIDI control. USB port for software updates and MIDI over USB.
Limitations: Requires key and scale settings to produce accurate harmonies. Audio I/O jacks on back, not side.
I second the idea that "an SM57 isn't everything." A Neumann U67, Sennheiser 409 or 421, and other mics do really well. If you like the White Album or old Bowie, you like the U67. —Bill Plummer
EQ has been on top of guitar-oriented recording, so many current products were already reviewed when they first came out. However, some have had updates—check 'em out.
Waves GTR Solo: The program is now available free for one year; if you prefer, you can buy a permanent license for $140, or a bundle with "21st Century Guitarist," an interactive DVD/eBook by yours truly (with session files, software, text, and an audio host program) for $165.
Peavey ReValver Mk III: Originally introduced in VST/AU for Mac and VST for Windows, this 64-bit amp sim program is now available in RTAS for both Mac and Windows. Current ReValver Mk III owners can download the RTAS version for free from www.peavey.com/products/revalver/index.cfm, where you'll also find demo versions.
Native Instruments Guitar Rig 3: On the Native Instruments forums, several people have reported using Guitar Rig 3 with Atom-based Netbooks—and getting decent performance.
IK Multimedia: AmpliTube Fender is the latest IK "powered by AmpliTube" product, and suffice it to say that Fender endorses it for a reason: The collection really does sound like Fender amps. Also, IK is co-sponsoring a series of Guitar Recording Master Classes. Check IK's home page for the schedule, including streaming events on the web if you can't make it to the events themselves.
Ableton Live 8: Live 8 adds an "Overdrive" effect that clearly zeroes in on guitarists, along with a Looper effect—while not guitar-specific, it's mostly guitarists who have embraced looping technology for building up phrases using live overdubbing.
Cakewalk Sonar Home Studio 7XL: The XL version includes Studio Devil VGA+, a guitar/bass amp sim with multiple cabinets, amps, and effects.
Here's a trick Richard Dodd trick used on Tom Petty's guitars: In addition to your regular mic, tape a PZM to the cab for a "bump" in size. It works!
- When you like the sound you've recorded but need some room sound after the fact, re-amp with a different amp at a distance. Now your far mic is a whole different sound—maybe overdriven and loud, while your close mic is tight and controlled.
- Open the door, and put your distant mic round the corner in the other room. Worked for Pagey, and Blackmore too.
- Use painter's tape to tape up the unused strings when the part needs to be really tight.
- When re-amping, automate your send to the amp to simulate the guitarist working the guitar's volume control for different volume and overdrive levels.
- Use your DI to drive an amp sim set for a 60s fuzz sound. Blend that just under the natural amp tone for lead parts—BIG!
–Lee Knight
- Put EQ before distortion so you can choose which frequencies get distorted and which ones don't, then put EQ after distortion to fine-tune the sound.
- Some amp sims have the opposite of a "magic" frequency—an "annoying" frequency. Using a parametric to find this and cut it.
- When trying to pick a cab, try all cabs first, and pick the one you like best. Next, go through the various virtual mic options, and pick the one you like best. Then, check out the various miking options (front, angled, distant) and pick a favorite. Finally, go back and run through all the cabs again. If you have the sound you want, great. If you find a better cab, use that and run through the various virtual miking options again.
- After recording your guitar track, run it through Adobe Audition's click and pop remover set for a fairly aggressive amount of removal. This softens the "spikiness" and makes the sound creamier.
- I use hex outputs with splits to tailor the sound separately for the low and high strings. For example, the top three might have more overdrive and some echo, while the lower three have a "beefier," chunky type of sound. Because all hex outs have some degree of crosstalk, the two splits sound more convincing than a hard split.
- Presets seem to be created by people who pick softly. I need to pull back the gain or drive controls on virtually all amp sims because I use 0.010 high E and hit hard.
You don't always have to play notes on a guitar. It's a very cool percussion instrument, which becomes cooler with the right processing.
–Craig Anderton
Here are the links for manufacturers mentioned in this roundup.
Ableton www.ableton.com
AEA www.ribbonmics.com
AKG www.akg.com
Audio-Technica www.audio-technica.com
Audix www.audixusa.com
Beyer Dynamic www.beyerdynamic.com
Cakewalk www.cakewalk.com
Catalinbread www.catalinbread.com
Danelectro www.danelectro.com
Digidesign www.digidesign.com
Eventide www.eventide.com
Fender www.fender.com
Groove Tubes www.groovetubes.com
Heil Sound www.heilsound.com
IK Multimedia www.ikmultimedia.com
iZotope www.izotope.com
Lawson www.lawsonmicrophones.com
Line 6 www.line6.com
M-Audio www.m-audio.com
Native Instruments www.native-instruments.com
Neumann www.neumann.com
Peavey www.peavey.com
Radial Engineering www.radialeng.com
RealTraps www.realtraps.com
Røde www.rodemic.com
Roland www.rolandus.com
Royer www.royerlabs.com
Sennheiser www.sennheiser.com
Shure www.shure.com
Sonic Core www.soniccore.com
Vox www.voxamps.com
Waves www.waves.com


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Hard French Winter Ball 2013
Hard French
Saturday, February 2, 2013 at 9:00 PM (PST)
WHOA! You Did it Hard Frenchers!! We have officially reached our quota for online ticket sales. This is going to be GOOD!
Tickets are NOT SOLD OUT! You can visit these retail locations to purchase tickets (you will automatically be entered to win a free hotel room at Hotel Paradox in Santa Cruz, too!):
We'll also have tickets available at these nightlife events (and one shopping party), look for the Hard French sign!
Tickets will also be available at the Cocoanut Grove Box Office on February 2nd from 2pm – 5pm and when doors open at 9pm.
Remember to guarantee entry into the event – get your tickets early! See you at the ball!
xoxo the Hard French Crew
The Third Annual Hard French Winter Ball
The Cocoanut Grove Grand Ballroom
February 2nd, 2013
9pm - 1am
You are formally invited to return with us to sunny Santa Cruz for a seaside weekend getaway with all vinyl soul music, live performances, and a formal dance party in a turn of the century Grand Ballroom on the Santa Cruz Boardwalk.
$15, Snowflake Special (sold out)
$20, Limited 'Blizzard Blowout' Ticket (sold out)
$25, Regular 'Snow Day' Pre Sale Ticket (online ticket sales are over. Tickets ARE NOT SOLD OUT - they are available exclusively at Hangr 16 in SF and select nightlife events - see above)
$25, Day of Event -there will be tickets available at the Cocoanut Grove Box office from 2pm - 5pm and when doors open at 9pm)
note: This event is 21+. All tickets will be e-tickets that you can print out or show us your ticket via the Eventbrite app on your smartphone.
yr Hard French DJs Brown Amy & Carnita
spinning vinyl ALL NIGHT LONG
along with:
Live singing performances by Dulce De Leche, Rotimi Agbabiaka, DavEnd and Ebony Jett.
Special guest performance by Glamamore.
Coronation of the Hard French King and Queen hosted by Lil Miss Hot Mess
Photobooth by Shot In The City, design by Tommy Tuff.
the Hard French Jiggalicious Dance Babes
Nominations are closed for King and Queen but we will announce our final court this weekend!
The King and Queen will recieve gifts from Rickshaw Bags, Amoeba Music, Hi Tops, Stony Pony, Ike's Sandwiches, Boogaloos, Nick's Pizza, Lexington Club, Nightlife at the Academy of Sciences, Courtney Trouble/Indie Porn, Delmarette (SC), Picnic Basket and Creamery(SC), Saturn Cafe(SC) and Extreme Pizza. In addition, Hard French will donate $$ to any organization of the winners' choosing!
More info:
Frequently Asked Questions
Hard French Hearts Local Businesses!
HUGE thanks to our local partners:
El Rio
Paradox Hotel - They are offering a Hard French Room rate for $130! Just give them a call (831.425.7100) and ask for the Hard French Room Block. Or visit their website, lick on reservatiosn tab, then click on Group Code and enter HFRENCH.
Zipcar **Zipcar is offering a driving credit discount to all Winter Ball ticket holders! Find out how to redeem it when you receive confirmation of your ticket purchase. If you don't have an account, they are also offering up discounted memberships at http://www.zipcar.com/hardfrench.**
if you are a local business who would like to partner with Hard French - hit us up at firstname.lastname@example.com.
The Hard French Crew modernize, takeover, revamp, trick out, revive, and do up the outdoor afternoon dance party experience. This is a party for everyone – where drag queens mingle with lesbians, leather daddy's soul dance with Cholas, sharps share hot dogs with activists, jocks make out with twinks, brown meets white meets purple meets gay guy meets ladies meets q and everyone leaves excited to come back next month. The party is DJ'd by resident and soul music wizards DJ Carnita and DJ Brown Amy and has featured some of the best soul DJs in SF and beyond including Primo (Oldie's Night), Dick Vivian (Rooky Ricardo's Records), DJ Bus Station John (Tubesteak Connection), John Cameron Mitchell (Hedwig & the Angry Inch/Shortbus), DJ Shannon Action Slacks, DJ Lucky (Soul Party!) and more.
In order to purchase these tickets in installments, you'll need an Eventbrite account. Log in or sign up for a free account to continue.


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Flaw found in Toshiba wireless device driver
Attackers could exploit a flaw in the Toshiba Bluetooth wireless device driver to cause a denial of service or launch malicious code on victims' machines.
Attackers could exploit a flaw in Toshiba's Bluetooth wireless device driver to cause a denial of service or run malicious code on victims' machines, researchers at SecureWorks have discovered.
Bluetooth wireless technology is used for short-range data communications between electronic devices. While this flaw specifically affects Toshiba's Bluetooth wireless device driver, Atlanta-based SecureWorks said in an advisory that the flaw affects multiple vendors who use the technology in their wireless products, including Dell Computers, Sony [in its VAIO notebooks], ASUS Computers and possibly others.
Attackers could compromise the Toshiba device driver using specially crafted Bluetooth packets, causing memory corruption and system crashes. From there, they could run malicious code at the highest privilege level on a victim's machine, SecureWorks said.
An attacker would need to be within approximately 10 meters of the victim to pull off an exploit. The attacker would also need the Bluetooth address of the victim's device. Bluetooth addresses are easily enumerated through active scanning if the device allows discovery, the advisory noted.
The problem was discovered by SecureWorks Senior Researcher David Maynor and vulnerability researcher Jon "Johnny Cache" Ellch, who made headlines in August with a presentation on wireless card threats at the Black Hat USA 2006 conference in Las Vegas.
In an interview Monday, Maynor said the Toshiba problem is an offshoot of the threat he and Ellch demonstrated at Black Hat.
"The information we presented at Black Hat led to the discovery of this vulnerability," Maynor said. "And we did note in the presentation that the problem could affect Bluetooth."
Toshiba did not immediately respond to an interview request, but Maynor said the vendor has made a fix available for all Bluetooth stacks. Users can access the security updates from the Toshiba Bluetooth Web site. Dell has made the updates available on its support site as well.
To reduce the risk of future Bluetooth attacks, SecureWorks recommended users set their devices to non-discoverable mode during normal operations.
In general, Maynor said, wireless device drivers were not developed with security in mind. He said the goal of the Black Hat presentation was to get other vendors and independent researchers to start looking for device driver flaws so they could be fixed before it's too late.
"Since device drivers were never designed with security in mind, you can still find common flaws people would have otherwise thought to be extinct," Maynor said. "If we had done more to prevent spam 10 years ago, it wouldn't be such a big problem today. We want to fix the device driver problems now so it's not a huge problem in the future."
Fortunately, he said, researchers and vendors alike have responded positively.


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Have you considered what an EMR would look and feel like if it integrated telemedicine? Rashid Bashshur, director of telemedicine at the University of Michigan Health System, has given the idea a lot of thought.
In an interview with InformationWeek Healthcare, Bashshur tells IW's Ken Terry that it's critical to integrate HIEs, ACOs, Meaningful Use and electronic health records.
Makes sense in theory. How would it work?
To begin with, Bashshur said, healthcare providers who have virtual encounters with patients via a telehealth set-up should create an electronic health record for that patient. The record could then be ported over to the patient's PHR. The physician can also share the health record via an HIE with other providers.
When providers attempt mobile and home monitoring, it steps the complexity up a notch, as such activities generate a large flow of data. The key, in this situation, is to use the EMR to sensitively filter incoming data.
Unfortunately, few EMRs today can easily pinpoint the information providers need to process, so most organizations have nurse care managers sift through incoming monitoring data. That's the case at University of Michigan Health System, where care managers sift data manually to determine whether patients seem to be seeing changes in their conditions.
Unfortunately, even attentive care managers can't catch everything a properly-designed system can, Bashshur notes. To integrate EMRs and telemedicine/remote monitoring, it will be important for EMRs to have sophisticated filters in place which can pinpoint trouble spots in a patient's condition, using a standard protocol which is applied uniformly.
According to InformationWeek, vendor eClinicalWorks has promised a new feature which can pick out relevant data from a large data stream. But until eCW or another EMR vendor produces such a feature, it seems that remote monitoring will be labor-intensive and expensive.


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A prototype of the turbine will be installed in a wind farm in Nantong, in east China's Jiangsu province, for testing late this year. Dongfang hopes to sell the machine to the overseas, as well as, domestic market.
It is one of the first times the US firm has spoken about co-designing a turbine with a Chinese manufacturer since its fallout with Sinovel last year.
Rudong demo
The second machine is being developed by CSIC Haizhuang. The company has launched a 5MW offshore wind turbine at its manufacturing plant in south-west China's Chongqing city. It is going to install the prototype at the Rudong demonstration offshore wind farm, in east China's Jiangsu province.
Yang says the company has spent three years developing the turbine alongside Dutch engineering firm Mecal, KK-Electronic from Denmark, and German offshore specialist Lehnhoff Consulting.
The turbine features large bearings, gearbox, high-speed permanent magnetic generator, and full power converter. The turbine head, with compact structure, is 15% lighter than other 5MW turbines. The turbine is suitable in 90% of Chinese wind farms, both onshore and offshore, says Yang.
The standout feature is its 75-metre blades equaling the world's longest with Siemens' upcoming 6MW machine. CSIC would not confirm the manufacturer of the blades and only says that they are made by a subsidiary. It refused to give further details about the company or how long it had been making wind turbine components. However, LM Wind Power said it had been in discussion with CSIC although its largest blade is the 73-metre version.


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How to Prepare Your Washer and Dryer for Storage
Maybe you're in between homes, or your new place doesn't have a designated area for your washer and dryer yet. Whatever your situation, the following tips will prove useful as you prepare your washer and dryer for storage.
First thing's first: clean your washer. You don't want your washer to rust while it sits in storage. Nor do you want detergent residue to harden beyond the point of no return. Simply clean your washer by running a hot water cycle with vinegar. Then dry it with a towel.
All you'll want to do for your dryer is clean out the lint tray well, by simply rubbing a damp cloth against its filter.
Many manuals actually lay out the steps for disconnecting your washer and dryer. You'll want to consult a manual if you have it. Otherwise, generally you'll want to turn off the water, the electricity breakers, and disconnect the hoses. Then your machines will be ready to move.
You may be surprised by how light washers and dryers are. But, whether they're light or heavy, you'll want to purchase or borrow a dolly. Transportation will be much easier, and you won't have to worry about denting or jarring anything. If you hire a moving company, don't forget to stay informed about their policies.
Wrap both your machines with either shrink wrap or a blanket. This will keep them clean from dust and protect them from dents and scratches, if you'll be moving things around a lot.
Another thing you'll want to do is store them on pallets. This will keep them from forming condensation underneath, as pallets allow airflow. And, as a bonus, they'll protect your units in the unlikely occasion that water gets into your unit.


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- Access Digital Exclusives, Hit Shows, Live MotorSports and more!
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$ 10,639
292 @ 6350
The rear-drive 2013 Chrysler 300's closest competitor is its Dodge Charger platform-mate, as well as the the Hyundai Genesis sedan, though buyers sometimes cross-shop the 300 with front-drive competitors such as the Toyota Avalon and Chevrolet Impala. Chrysler offers three engines on the 300: a 292-300 3.6-liter V-6 with 260-264 lb-ft of torque, a 363-hp, 294 lb-ft 5.7-liter V-8, and the SRT8 model's 6.4-liter V-8 with 470 hp and 470 lb-ft. The V-6 is backed by an eight-speed automatic transmission, while both V-8 engines are mated to a five-speed automatic. All-wheel drive is available with 3.6-liter and 5.7-liter engines. The rear-drive V-6 model is EPA rated 19/31 mpg city/highway, while all-wheel-drive six-cylinders are rated 18/27 mpg. Models with the 5.7-liter engine are rated 16/25 mpg and 15/23 mpg for rear- and all-wheel-drive models respectively. The SRT8 model is rated 14/23 mpg.
The Motor Trend long-term fleet includes a 2013 Chrysler 300S, which mates the V-6 to the new eight-speed automatic. So far, we've noted that "it does have a 400-plus-mile range, and the seats are plenty comfortable to sit in for an entire day." The 300 with the 3.6-liter V-6 hits 60 mph in 6.4 seconds. In a five-way comparison of full-size sedans, the 300S V-6 came in fourth place ahead of the Ford Taurus, but behind Toyota Avalon, Chevrolet Impala, and Kia Cadenza. The Chrysler's "pretty face goes a long way, but it can't argue with reality," we wrote. "Poor fuel economy and interior room relegate the good-looking Chrysler to fourth." In our 2012 Chrysler 300S V-8 test we understood why the full-size rear-drive sedan appeals to young and older drivers alike, concluding "The 300S is a car worth aspiring to own, or at least it will be once the eight-speed auto is available across the board." That model hit 60 mph in 5.6 seconds.
Back in 2011, the eight-cylinder 300C beat the Hyundai Genesis sedan 4.6-liter because of its "better looks, better ride, more gadgets, and a lower starting price. This was the Chrysler's test to lose, and it delivered a star performance." In our testing, a 2013 300 SRT8 hit 60 mph in just 4.3 seconds and returned to a stop in 105 feet. We were impressed by the SRT8's ability to "fly under the radar" calling it "a true Q-ship, and once it gets a modern transmission, it'll likely be considered one of the ultimate sleepers."
With the 2013 300, Chrysler introduced a new eight-speed automatic transmission for V-6 models as well as a new Driver Convenience Group with a rearview camera, remote start, HomeLink universal transceiver, 12-way power front-passenger seat, and more. A new exhaust and cold-air induction system bumps horsepower on 300S V-6 models to 300 hp. An all-wheel-drive 300 Glacier model in also new. The Chrysler 300 is an IIHS Top Safety Pick but has not yet been tested by the organization's small overlap front test.
New eight-speed auto for V-6 engine, while the SRT8 gets a larger and more powerful Hemi V-8. Chrysler 300 Glacier is a new trim level for all-wheel-drive models. Available sport exhaust and cold air intake bumps V-6 to 300 hp. The Driver Convenience Group is new.


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The Accounting Historians Journal Vol. 14, No. 2 Fall 1987
By Thos. Cullen Roberts, C.P.A., Secretary of the Association
It may be said that the American Association of Public Accountants is of Anglo-American origin. Its birthplace was the office of a firm of English Chartered Accountants, 120 Broad-way, New York City, the business place of Messrs. Barrow, Wade, Guthrie & Co., whose representative we should have been glad to welcome here to-day.
The names of those present deserve immortalizing — they are John Heins of Philadelphia, W. H. Veysey, Thomas Bagot, Louis M. Bergtheil, Mark C. Mirick, E. H. Sewell, Walter H. Veysey, James Yalden, and Col. Tyler, all of New York.
The first meeting recorded was on Friday, December 2, 1887. The certificate of incorporation is dated August 20, 1887, so the Association comes of age this year.
Its aims were high. The objects as set forth in the certifi-cate of incorporation were "to associate into a society or guild for their mutual benefit and advantage, the best and most capable public accountants practising in the United States, and through such Association to elevate the profession of public accountancy as a whole, and to promote the efficiency and usefulness of such society by compelling the observance of strict rules of conduct as a condition of membership, and by establishing a high standard of professional attainments through general education and knowledge."
The living and the dead are brought very close together — with the birth of the Association is recorded at the first meeting of its members, the death of Mr. Robert L. Fabian, who was president of the Council of Incorporators, and, glancing at the
*As published on pp. 116-124, Twenty-First Anniversary Year-Book, (1908) of the American Association of Public Accountants (AAPA), forerunner of the American Institute of CPAs. These addresses were presented at the AAPA annual banquet on October 22, 1908.


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This is a post from my company, SocialMedia.org's blog. Check it out for more profiles and stories about the people running social at really big brands. Humana's Head of Social Media, Lewis Bertolucci, has been a SocialMedia.org member since 2012. He sat down with us to let us behind the scenes of their social strategy […]
Tag Archives: Affordable Care Act
Lewis Bertolucci on making Humana an Affordable Care Act resource in social media
November 25, 2014
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