text:
District Court Brief
Two Men Sentenced, Trial Date Set for Witkowski
On Monday morning a sentencing hearing was held for Adam Kelley in District Court in Glasgow. Kelley was convicted earlier this year on theft charges stemming from stealing items from several garages around Glasgow, and ultimately resulting in the theft of a vehicle. The vehicle and Kelley were located in Roundup, Montana, where Kelley faced an additional charge of Possession of Methamphetamine.
Entering into a plea agreement for all of his charges, Kelley was given 5 years suspended with the Department of Corrections and a $1,000 fine for felony theft, and received 6 months with all but 30 days suspended and a $1,000 fine for misdemeanor theft credited with time served. He was also sentenced at the Valley County Courthouse for his conviction of Possession of Methamphetamine he received in Mussellshell County, for which he received 2 years suspended with the Department of Corrections.
Also sentenced on Monday was James Yoss, whom entered into a plea agreement in exchange for a reduction in charges. The crime was a third felony offense for Yoss, with his prior offenses being similar types of crimes that also involved substance abuse. Despite his previous convictions and committing the offense while on a suspended sentence, the prosecution felt sympathy for Yoss whom suffers from mental illness. Yoss was allowed to speak to the court about his circumstances with his illness during the hearing. Most notably he testified about an adjustment made to his medications after being incarcerated that have had better results treating his symptom and his testimony was also confirmed by the prosecutor in the case Dylan Jensen.
Despite testimony of an improvement in his condition from both sides of the court, Judge Yvonne Laird deemed the sentence request of three years with charges running concurrent in the plea agreement to be insufficient for the matter. Judge Laird decided that a sentence of four years and a fine of $1,000 for criminal endangerment, and four years and $1,000 fine for intimidation to run concurrent and in continuation of the of the sentence he is currently still serving to be an adequate punishment for the crime. Judge Laird also stated that the court will recomend Yoss to enter into a treatment program while incarcerated to address his substance abuse problems.
An omnibus hearing was also held for the upcoming trial against Jay Witkowski. Witkowski is facing charges stemming from an incident that resulted in the death of a local woman in January. During the hearing a trial date was set for August 21, with the trial expected to take 5 days.


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Many athletes are aware of the benefits that come from consuming high-quality whey protein after a workout. Now a new study reports that the amount of protein you should consume post-workout depends on how many muscles you involved during exercise (1).
The type of protein you consume, when you consume it, and how much you consume all influence the muscle-building response following exercise (2). Of these factors, studies have found that the amount of protein consumed following exercise appears to have the most impact.
Based on past evidence, 20-25 grams of high-quality protein was thought to be enough to maximally stimulate muscle building (2, 3). However, according to new research, 40 grams of whey protein was actually more beneficial than 20 grams when more muscles were used during a workout (1).
It was previously believed that muscle mass was the sole influence in the amount of protein needed following exercise. For example, because younger adults have greater amounts of muscle mass, it was thought that they'd require a larger dose of protein (2-4).
However, recent research suggests otherwise. The more muscles that are activated, the greater the blood flow, and the greater the delivery of amino acids (1, 5). In short, your body can make use of a larger protein dose when more muscles are used during exercise.
In the latest study, researchers examined the response of muscle protein synthesis comparing two doses of whey protein taken after a whole-body exercise routine (1). The study assigned 30 resistance-trained males to either a lower lean body mass group (65 kilograms or heavier) or a higher lean body mass group (70 kilograms or heavier) who participated in two trials of either 20 or 40 grams of whey protein in random order. They consumed the protein immediately after exercise.
The subjects who consumed the 40-gram dose of whey protein stimulated muscle protein synthesis to a greater extent than those who consumed a 20-gram dose of whey protein for a full five hours after exercise. However, the muscle-building response was similar in both groups of resistance-trained males, despite the different amounts of lean body mass.
So the research suggests that the amount of protein needed after resistance training depends on how much muscle you worked out, while the overall amount of muscle mass you have is less important.
For practical application when using IsaPro® whey protein:
- Take 1-1½ scoops (18-27 grams of protein) after working out one body part.
- Take 2-2¼ scoops after training the entire body.
By adopting these guidelines, athletes can take advantage of the latest research on muscle building using protein supplementation depending on their workout.
- Macnaughton LS, Wardle SL, Witard OC, McGlory C, Hamilton DL, Jeromson S, Lawrence CE, Wallis GA & Tipton KD. The response of muscle protein synthesis following whole-body resistance exercise is greater following 40 g than 20 g of ingested whey protein. Physiol Rep. 2016 Aug; 4(15).
- Witard OC, Wardle SL, Macnaughton LS, Hodgson AB & Tipton KD. Protein considerations for optimising skeletal muscle mass in healthy young and older adults. Nutrients. 2016 Mar 23; 8(4):181.
- Morton RW, McGlory C & Phillips SM. Nutritional interventions to augment resistance training induced skeletal muscle hypertrophy. Front Physiol. 2015 Sep 3; 6:245.
- Churchward-Venne TA, Burd NA & Phillips SM. Nutritional regulation of muscle protein synthesis with resistance exercise: strategies to enhance anabolism. Nutr Metab. 2012 May 17; 9(1):40.
- Biolo G, Tipton KD, Klein S & Wolfe RR. An abundant supply of amino acids enhances the metabolic effect of exercise on muscle protein. Am J Physiol. 1997 Jul; 273(1 Pt 1):E122-9.

subset: commoncrawl


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Masha Campagne: Cahminhos Cruzados = Crossroads
Campagne was born in Russia and educated in Moscow. Her studies as well as her unusual family influence combined to provide her with a thirst for modern, international and jazz music. Campagne settled in San Francisco in 1991 and, while in high school, was transfixed by the Bossa Nova craze and notably the work of Antonio Carlos Jobim, Joao Gilberto and Elis Regina. Her continued studies and meeting with pianist/arranger Weber Iago have resulted in Cahminhos Cruzados = Crossroads.
It would be difficult to guess that this is a fully American recording (with the exception of Iago) and, although there are no real surprises in the choice of material, there is almost a wave of nostalgia for the first generation Bossa Nova composers. Midway through the album is a Jobim medley that is just short of ten minutes, combining three classics: "So Tinha De Ser Com Voce, "Caminhos Cruzados, and "Samba De Aviao. Iago's skilled writing for strings provides not only continuity between the three songs but an interwoven suite-like sensibility.
Campagne opens and closes the album with songs from Djavan, and there are also two tunes from Guinga and Aldir Blanc. Just as the masters of this genre would have done, Campagne also adapts two examples of the Great American Songbook to fit into the samba life. Cole Porter's "So In Love" is given a turn, as is an up-tempo version of the Rodgers & Hammerstein show tune "It Might As Well Be Spring," recalling the efforts of a young Astrud Gilberto.
Track Listing
Romance/Alem Das Nuvens; So In Love; Doralice; Jobim Medley: So Tinha De Ser Com Voce, Caminhos Cruzados, Samba De Aviao; Pra Quem Quiser Me Visitar; O Coco Do Coco; It Might As Well Be Spring; Faltando Um Pedaco.
Masha Campagne: vocals; Weber Iago: piano, arrangements; Harvey Wainapel: saxophones; Carlos Oliviera: acoustic guitar; Joanna Blendulf: cello; Dan Robbins: bass; Michael Spiro: percussion; Paul van Wageninger: drums; David Belove: electric bass; Rich Kuhns: accordion; Phil Thompson: drums; String quartet: Jessica Poll: 1st violin; John Fairweather: 2nd violin; Darcy Rindt: viola; Joanna Blendulf: cello.
Album information
Title: Cahminhos Cruzados = Crossroads | Year Released: 2007 | Record Label: Self Produced


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Easel perfection
June 27, 2013
Above: A David Potter portable easel with my own personalised storage attachments
Portable Easel
Do you love to paint outdoors, but hate the hassle of getting all the equipment organised? Perhaps, like me, you need the freedom to paint wherever you choose, and the ability to move to a fresh viewpoint whenever you feel like it? In the British summer, it is of course a good idea to be so mobile that you can get under cover quickly when rain gets too heavy.
With a standard wooden sketching easel, I have endured embarrassing situations in which the opening up of my easel has been the "main show" for passers-by, and I have then had to hold the structure steady with one hand while painting with the other. But this summer, I have a system that works at long last….
Pictured above is my new portable sketching easel from David Potter. I like it for its stability, and for the ease with which it can be opened up and folded away. Telescopic legs are secured with easy open-shut clips, and there is a neat single knob to secure the angles of the legs and of the canvas support. So far, I have not got too exasperated or needed pliers.
For further details about this easel, check out the David Potter website. Ordering seems to go most smoothly if you contact the company directly by phone. I'll warn you that this easel is more expensive than many others on the market, though it does a far better job. Thank you, lovely family, for getting me this for my last birthday.
Brush holder
There are small and large wooden shelves available for this David Potter easel. However, I personally failed to get on with the design of these, finding them rather unwieldy. As I like to move frequently from one painting location to another, I really need accessories that can remain attached to the easel when it is folded and then opened up again.
I was very proud to discover this brush holder, which is in fact a drumstick holder designed for musicians:
Above: Vater multiple drumstick holder, here shown clamped to my David Potter easel.
This is a good size for most brushes and palette knives, and it clamps on really securely to the leg of the easel. I can certainly leave this brush holder clamped in place when I pack away at the end of the session, and I even leave the brushes in there when I wheel my easel. Click on the product image below for further details:
Palette shelf
Yes, I know… I could get a beautiful wooden pochade box for oil painting outdoors. However, I'm very attached to my white plastic palette as it is easy to wipe clean, light to carry and because I can see the colours so clearly. Sometimes I hold my palette with my left hand while painting with my right, but I like to have the option of putting it down at times.
Too often, I used to find myself putting the loaded palette down on the ground while I worked, and then nearly standing in my own paint!
This week, my brilliant solution involves a metal clamp-on shelf and a set of small magnets. I have found a black, rectangular clamp-on metal "gig tray":
Here is the same tray in use on the easel:
Above: Kinsmore gig tray used as a shelf . Here it is shown clamped upside-down to my David Potter easel, supporting a palette and plastic box that have magnets glued to their undersides.
The Kinsmore tray attaches very firmly to the leg of the easel. But I wanted to have my palette, etc., rest securely on the shelf even in high winds and even when the angle of the easel legs causes the shelf to slope. My solution was to superglue several tiny molybdenium magnetic discs to the underside of my palette. The magnets secure my palette to the shelf very reliably, but I can still pick the palette up with an easy flourish when I feel like painting with it in my left hand.
As part of the easel itself is also metallic, I can attach the palette securely like so when the easel is folded up:
Above: Oil palette attached with magnetic fixings to my easel ready for transport.
It is safe to stow the palette like this even when wheeling the folded easel through the park, though I do wrap cling-film over exposed paint just in case of accident.
Multimedia use of easel
Above: Black, metallic Kinsmore gig tray supporting boxes of art materials. These boxes have magnets super-glued to their undersides.
I tend to accumulate little plastic boxes and trays in the art room, often those that used to contain food. As shown above, these are perfect for carrying all kinds of art materials. I have attached little magnets to their bases to hold them secure on the metal tray. Notice how I've chosen to turn the metal Kinsmore tray the "right" way up this time.
For water-soluble media, I have ordered a cup-holder that should clamp onto the easel leg and hold a water jar. On other occasions, I could use this to hold a pot of pencils or pens (the brush-holder is a little too deep for most of these) or of course a cup of coffee. For further details, click on the picture link below:
The wheels were ordered from David Potter along with the easel. If you are not built for heavy lifting then I definitely recommend them. They were rather fiddly to attach onto the easel in the first place but are now a permanent fixture, folding back while the easel is in use.
I have been out with the accessorised easel a few times, and it seems okay to wheel it with all my personalised attachments clamped in place and with the palette attached magnetically to the vertical bars. Paint tubes, little screw-top containers of paint medium, a tiny folding tripod stool and boxes of other art materials come along in a separate rucksack.
Above: Neodymium magnets. These were used to attach the palette and storage boxes to my metal shelf.
I recommend using neodymium magnets as they are particularly strong. Mine came, promptly and well-packaged, from an eBay store called Guy's Magnets.
The next step was to glue the magnets to the underside of my palette and art storage boxes. I used Araldite superglue. It is a fiddly business. Plan exactly where each magnet should go before you start, indicating with marker pen if necessary. Before mixing up the glue, check which way up the magnets should go. You want the un-glued side to be attracted to the metal on the easel, not repelled by it!
Some precautions to take when using strong magnets:
Do take care with strong magnets. As far as I am aware, you should not get too close to them if you have a pace-maker. They could also damage some electronic equipment such as ipods if stored too close. And it is definitely a bad idea to swallow them.
Any other ideas?
If you are interested in personalising your own easel, then I suggest browsing online for accessories that clamp onto pushchairs, wheelchairs and music stands Do share any further ideas for personalising an easel by adding to "comments", below. How about a light fixing? Or a parasol holder!?
Comments (4) | Tags: easels, shopping, working outdoors | More: Blog
4 Responses to "Easel perfection"
I think your solution to the problem of how to clip a palette to the tripod is pure genius. Usually i just hold the palette, but sometimes i really don't want to! So so clever, to use a gig tray and magnets! I am going to do the same, thanks for the tip.
This is just the most brilliant post and has solved all my Extremely Annoying outdoor painting problems in one hit, together with all my supplier-finding issues. You are such a STAR thank you ever so much x
Hi, can your easels be used by wheelchair users with very limited physical capacity.
Thank you


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Transcribed by Kathleen Hastings Whitlock
February 22, 1951
"Fort Blount, Monday, December 15, 1800. Court met according to adjournment, the following members being present: to wit: Garrett Fitzgerald, Charles Hudspeth, Thomas Harmond and Peter Turner, Esquires." Thus reads the opening item of the beginning of the second year's record of the Quarterly County Court of Smith County, Tenn. The first Court was held in December, 1799, in the home of Tilman Dixon at Dixon Springs. This, the fifth term, met at Fort Blount, on the east bank of the Cumberland, near the present ferry at the upper end of smith's Bend of Cumberland River and not far above the mouth of Salt Lick Creek. Readers should remember that at the time of this meeting, Tennessee was only four years old as a State, that John Adams was president, that George Washington had been dead for a year and one day. In our present Macon County, only six years had passed from the first settlement which was made on White Oak Creek by Thomas Driver, who had come from Virginia with his wife and two children on a horse, with a second horse bearing perhaps all their earthly possessions except the two horses, and the axe and gun that Driver had carried. Driver was "heading for Kentucky," but missed the State line by a half mile. In 1800 practically all of Middle Tennessee was covered with virgin forests and the infant State of Tennessee had hardly shed its "swaddling clothes."
The next item: "The Court then proceded to business, and the Venire being called, the following gentlemen were elected as Grand Jurors: Viz: James Roberts, John Jenkins, Charles McCleenan, Pleasant Kearby, William Marchbanks, Edward Pate, William Anderson, Charles Carter, Christopher Bullar, Stephin Pate, Esom Graves, Jacob Jenkins, Willeroy Pate, John Fitzgerald and John Anderson, James Roberts being appointed foreman of the said Grand Jury. Henry Huddleston was appointed to attend them." We believe that we have offered comment on all these men and refrain from further "surmising" at this time. However, we wonder why the Court did nothing the first day except to organize. But we recall that these people lived in a day and time when the hurry and rush of modern life did not exist, and we believe they were happier and more healthy than we of today, who rush through life, hurrying, struggling, and wear out all too soon and fill early and untimely graves.
"Tuedsay, December 16, 1800. Court met according to adjournment, the following gentlemen being present: Charles Hudspeth, Thomas Harmond, James Hibbetts." Here we learn that Garrett Fitzgerald, who had shown up the first day, was not on hand for the opening of the second day, and neither was Peter Turney. It was not a great distance from the place of meeting to where we feel sure Fitzgerald lived, somewhere in the present Clay County; and neither was it very far from the meeting place to the home of Peter Turney. James Hibbetts had come in time for the opening of the second day of Court. He resided on the waters of Goose Creek, about eight miles south of the present Lafayette.
"On motion of Peter Turney, by his attorney. Ordered that the Sheriff be directed to summon a Jury on the premises of a disputed tract of land claimed by the said Peter Turney and Willie White, "Caveators;" and Armistead Stubblefield. "Cavitee," agreeable to a certificate of William White, Secretary of the State of North Carolina, in the words following (to wit) State of North Carolina, William White, Secretary of the State, to the Worshipful, the Justices of Smith County Greetings—Whereas his Excellency, the Governor, hath certified to me, that on the complaint of Peter Turney and Armistead Stubblefield on oath, he has suspended the execution of a Grant to Willie Cherry for six hundred forty acres of land in your said County on the east side of a small creek, called Spring Creek, running East and North for complement, so as to include Boyd's improvement. Military Warrant, No. 3,116, Entered 19 day of May 1800, and directed me to certify to the suspension of the Execution of the grant to you, the said Justices, to the end that the controversy be determined according to law. "I, therefore, hereby certify the Execution of the said Grant to the said Willie Cherry for the said land, accordingly. Given under my hand at Raleigh, the 18th of September, 1800. Will White, Secretary." Here we have a rather long item, and one that has some features which we do not understand. The word "caeators," comes from the word, caveat," which means in law: A formal notification to a court or ministerial officer, warning him against taking some particular step until the notifier is heard." In this case we find that Peter Turney and Willie White were the "caveators" and Armistead Stubblefield was the "Caviee." The writer has looked in vain for "cavitee" in the dictionary, but it may be a correct use of the term. Just where the land in question is was not clear. Spring Creek is a name given to numerous streams that started from some large spring, as Spring Creek, just north of Lafayette; Spring Creek in Wilson County; and perhaps others. Willie Cherry was doubtless a soldier of the Continental line, or Revolutionary War. Whether he was a relative or ancestor of the Cherry family of this and Clay County, we do not know. Armistead Stubblefield is believed to have been the ancestor of the Stubblefield family, of this and Trousdale County, but this has not been definitely established. Any information by readers will be appreciated.
"Ordered that Samuel Huff, Sr., be allowed Letters of Administration to administer on the estate of John Lee, who gave bond and security, and qualified according to law." Thus reads the next item in the old records. We believe this is the first mention of the Huff family, which is not a numerous family in North Middle Tennessee, although we have the names of some present-day members. John Lee is another unknown. This, we believe, is the second action of the Court in appointing some party to settle an estate. The first was that of a Mr. Sanderson, with a Mr. Jones as Executor. It may be added at this point that there is no record at Carthage of the settlement of either estate as to the heirs, etc., the first will on record there having been probated in 1804. It should also be stated that the settlement of estates gives the most reliable of information as to a man's children of heirs.
"Ordered that Henry McKinney, James Dobbins, William Stalcup, Sr., John Steel, Michael Osborne and Uriah Anderson be allowed permits severally to retail "Spirituous Liquors" at each of their dwelling houses until next Court, they complying with the Court rates." No comment.
"Silas Jernigan took the oath of Deputy Sheriff, and also the oath to support the Constitution of the United States and the State of Tennessee." We mentioned that Silas Jernigan was probably the ancestor of the Uncle John Jernigan, of Springfield, and Elder Jernigan, church of Christ minister, of Portland, but this has not been confirmed.
"Ordered that John Reid be appointed overseer of the road leading from Mungle's Gap to the Smner County line, and that Peter Turney be appointed to furnish a list of hands, etc." Mungle's Gap is about four miles east of Hartsville; and the Sumner County line of that day and time is said to have been just east of the present Hartsville. This gave Reid less than four miles of road to keep in passable condition. John Reid is a newcomer to the old records, but the name is spelled just as the Reid family of this section still spell it.
"Ordered that John Steel be appointed overseer of the road leading from Fort Blount to the top of the Ridge at the head of Flynn's Creek, and that all the hands subject to work under the late overseer of said road to work under said overseer." So reads the next item. This section is not hard to locate or identify. We have not a word of information as to who John Steel was. We also wonder if the expression, "the late overseer," meant that the previous overseer had died. It is the writer's view that the words signified merely tha Steel was succeeding a recent overseer.
"Ordered that Samuel Carrothers be appointed overseer of the road leading from Mungle's Gap to the ford of the East Fork on Goose Creek and that David Keilough be appointed overseer of the same from the ford to the far side of the first canebreak on the Ridge. And Aaron Hart be appointed overseer of the road leading from the last-mentioned place to the Maple Slashes opposite John Fisher's and that Andrew Greer be appointed overseer of the left hand fork of said road from Richard Brittain's and that James Hibbetts, Esquire, furnish the said overseers with a list of hands." Here we have a rather lengthy item, part of which is not clear as to the locations mentioned. Samuel Carrothers would today be called Samuel Caruthers and evidently lived somewhere on the East Fork of Goose Creek in the vicinity of Hillsdale. Mungle's Gap is about a mile from the main stream of Big Goose Creek and is easily identified. Carrothers was to be overseer to the ford of the East Fork of Goose Creek. Just where that ford was is unknown, as bridges have long since taken the places of fords. Judging as best we may, we would suggest the idea that it was most probably about the present Meadorville. But this is a suggestion only. David Keilough was appointed to oversee the same road from the far side, or north side, of the first canebreak on the Ridge. We know where the Ridge or Highland Rim is. In fact Lafayette is right on the Ridge. If Keilough was overseer of the road leading up what is now called the Sullivan Branch and thence up the Ferguson Hill to the Ridge, we would judge that the first canebreak must have been very near or where the present Lafayette now stands.
This forces us to "go back" on one of our former views, that David Keilough most probably resided on the present Jenning's Creek. Generally an overseer resided near or on the particular stretch of road for which he was overseer. This would place David Keilough as living between the present Lafayette and Meadorville. Aaron Hart is mentioned as the overseer from the canebreak to the Maple Slashes. Evidently this was a road that ran right through the present county seat of Macon, which did not come into existence until forty years or more after the events recorded in the old records in 1800. From the north side of the canebreak to the Maple Slashes, we presume, would have led right through Lafaeytte, as we infer that the Maple Slashes were most probably about two miles north of Lafayette and the community is known today as Maple Grove. This would give us the name of another early settler in the vicinity of Lafayette, Aaron Hart.
Andrew Greer's appointment as overseer of the left hand fork of said road seems to indicate that he was in charge of that road now leading up the Brtton Branch by the B. N. Glover farm and on to the Ridge by the old Winding Stairs Road. If this view is correct, Andrew Greer was another very early settler in the vicinity of Lafayete. We have another name mentioned in this item, and that is the name of Richard Brittain. If our view of the roads is correct, Richard Brittain lived in 1800 on part of what is now called the Meador farm at the place called Madorville. We know that Richard Brittain was a charter member of Dixon's Creek Baptist church which had been formed about nine months before the above-mentioned session of the Court was held. We also know that he was haled before the church on a charge of "lending his mare to run in a course race," and made his acknowledgments. Now it is possible that we are wrong in our views about the roads leading from the ford of the East Fork of Goose Creek, but we have given what we believe to be the most logical solution of the question as to where these various roads or sections of road began and ended.
If we judge that the ford mentioned was lower down the East Fork of Goose Creek, we would have to place it about the mouth of the Middle Fork of Goose Creek, which would give Samuel Carrothers the task of overseeing a road only about a mile and a quarter in length. If any reader can give us additional light, it will be appreciated.
"Court adjourned until tomorrow nine o'clock." Thus closes the second day's work at old Fort Blount.
"Wednesday, December 17, 1800. Court met according to adjournment, the following gentlemen being present: viz: Garrett Fitzgerald, James Hibbetts, Peter Turney, Esquires." Garrett Fitzgerald was absent on Tuesday, according to the record, but he got back in time for Wednesday's session. Peter Turney also returned the third day, while Thomas Harmond and Charles Hudspeth were absent.
"Ordered that James Jones, who was bound to this term on the complaint of Phoebe Snodgrass for begetting a child on her body be re-bound for the maintenance of the said child, that he be bound to pay the said Phoebe Snodgrass the sum of twenty-five dollars to defray the expenses of her lying in and maintaining her child until it is one year old: and sixteen to pay the said Phoebe Snodgrass and two third dollars annually until the child is three years old; and that he give sufficient security for complying with the above order. When Uriah Anderson and William Robertson came into Court and acknowledged themselves his securities for complying with the above order." We know nothing whatever of who Phoebe Snodgrass was nor of James Jones, the father of her child. But we are inclined to feel that this was a very small allowance for the woman's "lying in," and the care of her infant for a year. Then $16 and 2/3 dollars a year for two years was a very small amount for a child's support. However, it will be remembered that money was a very scarce commodity indeed in that day and time. Land could be bought for 25 to 40 cents and acre. So this ugly episode in the life of Jones cost him perhaps the equivalent of 75 acres of land. We have no idea where Jones lived but presume he and the Snodgrass woman must have lived in the same section. The Uriah Anderson who helped Robertson to secure and guarantee the order of the Court owned land about a mile above Dixon Springs.
(To be continued)


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In the rolling hills of southwest Wisconsin
Red Horse Farm is a small farm west of Mineral Point, WI, in the driftless area.
On the farm we grow natural hay and produce. We raise a flock of fiber sheep, whose fleece is hand processed, dyed, spun and woven here.
We also produce various hand crafted paper and fiber ornaments.
And, of course, we are aided and guided in our endeavors by Rosie and Ginger, our two red Clydes.


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As Albuquerque businesses continue to realize the importance of a strong web presence, more owners are looking for ways to boost their visibility online. And most local businesses have heard that SEO is the best way to do this.
And they'd be right.
But what many businesses don't know is that not all SEO is created equal. In order to get the best results from your Internet marketing efforts, it is important to be an informed consumer. Below is a list of the top 10 characteristics of good SEO to help you evaluate a service you may be considering:
- Keyword Phrases
Keyword phrases enable you to incorporate language into your content that your target audience actually uses to search for your products or services online. It is essential to strategically add this component to your website in a way that enables the search engines to identify your site as a 'best match' for a given query.
- Copywriting
Copywriting is the art of crafting marketing content. But your website needs more than just compelling copy that drives people to act. Your content also needs to meet the needs of the search engines so that you gain visibility with your target audience through high rankings.
- External Linking
External links (links from a different website to your website) essentially serve as a recommendation, or referral, for your website. Since the search engines want to provide people with quality results, they evaluate the number—and quality—of websites that link to yours as a way to determine the value of the content you provide.
- Title Tags
Title tags are an opportunity for you to clearly identify the theme of each page on your site. By establishing a narrow focus for each page on your site, and cataloging it with descriptive title tags, you help the search engines understand what your website is about.
- Header Tags
Header tags help the search engines evaluate content or information that is important on your site.
- Internal Linking
Internal links (links that go between pages on your website) help the search engines easily crawl your site.
- URLs
URLs on a website can get messy fast. It's important to clearly define an authoritative URL for your website and set up 301-redirects when necessary. Also, meaningful URLs for each page can serve as another means for the search engines (and people) to determine what any given page on your site is all about.
- Sitemaps
A sitemap is a map of your website. It enables people and search engines to easily navigate your site to find information quickly.
- Meta Descriptions
Meta descriptions technically do not have SEO value. But they do impact the results you can achieve with SEO. Meta descriptions are the brief description of a webpage that is included for every listing in the search results. Overlook your meta descriptions and you miss the opportunity to compel people to click on your listing. The end goal of SEO is, after all, to get more clients.
- Analytics
Analytics help you understand how your website is performing and make adjustments to improve performance as necessary. A good SEO company won't just throw numbers at you, they'll discuss your analytics every month so you understand what those numbers mean.
- * BONUS: Social Media
Social signals are becoming increasingly important in search engine ranking algorithms. The more people that are engaging with your company—whether they're mentioning you or linking to you—the better!
Of course, there are many other little things that go into quality SEO, but these are the 10 essentials every website needs to start on a solid foundation.
If you have questions about SEO or would like to learn how we can customize a strategy to meet your unique online marketing goals, please contact us. I've assembled a great team of Internet marketing professionals in Albuquerque who would love to talk about ways to take your business to the next level!


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On Saturday, April 28th, Play-Well TEKnologies will be collaborating with the Carrillo Recreation Center and families in the community to build Santa Barbara out of 20,000 LEGO® Bricks. Families will have the opportunity to create Santa Barbara, as they would like to see it. The event is free to families. Families get to tackle these questions through play:
- If you had the chance to design Santa Barbara, how would you design it?
- What else would you add to the county that you currently think is missing?
- How would you make Santa Barbara County even better than it is now?
Families will have the opportunity to explore their creativity through play with the help of 20,000 LEGO® Bricks.We will be running two FREE workshops from 9:00 AM – 10:00 AM and 11:00 AM -12:00 PM.
We hope to see you there!
Frequently Asked Questions About Our City Builds:
What do these city builds look like?
- Great question. Check out our Play-Well City Builds from around the country here.
Can I drop my kid off at the event?
- We ask that parents stay with their kids at all times
Will the kids get to keep their LEGO® creations after the event is over?
- Unfortunately no, as these LEGO® pieces are used to teach our LEGO-Inspired STEM Classes throughout the year.
Can kids bring their own LEGO pieces to add to the city?
- We ask that kids keep their LEGO® pieces at home as we would not want them to lose their favorite LEGO® pieces
Can we just drop-in to build without registering?
- Unfortunately, no walk-ins will be allowed as space is limited.
We aren't able to make it to the event but would love for you to come to our neighborhood or school. Is that possible?
- Absolutely! Simply fill out our special request form here.
This is a FREE event for kids ages 5+. Only kids need tickets
Here are the details of the event:
Event: Building The City of Santa Barbara out of 40,000 LEGO® Bricks
Location: Carrillo Recreation Center 100 E Carrillo St. Santa Barbara, CA 93101
Date & Time: Saturday April 28th, 2018 9:00am – 12:00pm
To register for the event, please visit our Eventbrite page HERE.
Play-Well Contact: Victoria Bulmer, email@example.com, 805-210-0362
Who is Play-Well TEKnologies?
Play-Well teaches LEGO-Inspired STEM Programs to over 100,000 kids/year around the country. The goal is to inspire the next generation of engineers, scientist, innovators, and inventors. Play-Well will be offering summer camps throughout the North Bay. To find camps near you, visit our summer camp page. For more information about Play-Well TEKnologies, click here.


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I don't even no where September went... it is just about gone! I can't even begin to tell you everything that I have done this month...unreal and yet I almost can't even remember!
It is officially one week from today that we will be hanging out with Heidi Swapp, I can't wait, yet I still have so much to do. Time, always need more time. If I could buy time, I would...all the way.
Anway there is still time to register for those that are last minute, and can't make up your mind, this is one awesome event! Heidi is the best!! It is going to be one packed weekend...can't wait :)
Please check out the dedicated blog for this event for class descriptions, pictures and supply lists!
To register please call me at Scrapalicious 208.745.5457 or by email at scrapalicious_king {at} hotmail {dot}com


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IWFM Qualification Programmes
In today's complex and competitive business environment, the scope of the Facilities Management role demands a broad mix of managerial skills and specialist expertise. Undertaking the IWFM Qualifications can support the busy manager by building a secure knowledge base which, in turn, helps build personal confidence and professionalism. The qualification scheme covers the 10 functional areas of the IWFM Professional Standards and the 30 competences of knowledge.
The FM Tutor learning programme in facilities management provides the learners and their employers with a very comprehensive foundation in all aspects of management, with an obvious focus on best practices in facilities management. The programmes cover many of the 30 components of the IWFM Professional Standards Framework. The FM Tutor programme is designed flexibly to accommodate work commitments of the busy facilities manager, and to prepare learners for the evidence required to meet the assessment criteria of the IWFM Qualifications. We provide a distance learning programme to suit learner's specific needs. We also provide bespoke client programmes to suit business needs, delivered on your premises.
IWFM Home Page shows more details of the Institute representing professional facilities managers.
The IWFM qualifications have been developed to suit those working or wishing to work in facilities management or related areas who are looking for a professional qualification or continuing professional development. Designed at various levels, the programmes balance a broad range of specialist and general management areas which explore the professional content and context of Facilities Management.
The IWFM qualifications have been aligned, where appropriate, with the IWFM Professional Standards Framework and National Occupation Standards and as such provide much of the underpinning knowledge, understanding and application of good practice for a competent Facilities Manager.
We have created this Qualifications Video to explain the qualification system.
|Qualifications levels
Level 3 is for first line team leaders and supervisors, aimed at developing understanding and knowledge of the FM industry and function. This is suitable for new entrants and those gaining their first roles in FM. More information
Level 4 provides a broad understanding of facilities management for experienced operations staff who are responsible for a range of FM functions. This level is also suitable for experienced supervisors, junior managers wishing to extend their operational knowledge to extend their roles and responsibilities. More information
Level 5 is aimed at facilities managers at middle management level who have considerable experience and responsibility for more specialised and complex functions. More information You are likely to have both staff and budget responsibility, either one large site or several smaller premises. You will need to write about your site / employer / client; their FM operations and make recommendations for improvements.
Level 6 develops the strategic skills and knowledge required of senior facilities managers working as Head of Department, Account Director or Consultant. It is targeted at those with a high level of responsibility who need to understand both current thinking and new concepts. More information
You will need to write detailed but concise management reports for C-suite audiences about the FM function in your client / employer / site; using a range of analytic and evaluative investigations.
|Why Study with FM Tutor?
FM Tutor has many years experience in running FM courses and qualifications.
Study Options
FM Tutor programmes are offered via distance learning. The qualification level chosen by the learner will determine the amount of additional study required. Need to know more? click here for details on how the course programmes at FM Tutor work and how we support our learners.
Learners will be expected to undertake self-study, research and gathering of evidence as part of their assessements for each unit or topic of study. Learners may need to undertake up to 5 to 10 hours per week, depending on their prior knowledge and experience, and how quickly they wish to gain the relevant qualification.
Personal Tutorials
One to one tutorials at Learner's workplace or at the FM Tutor office can be booked for all learners for a small fee.
Learning Materials
Level 3 and 4 learners receive a personal copy of Facilities Managers Desk Reference textbook, written by Director, Jane Wiggins. See reader reviews on Amazon.
At Level 5 and level 6, each learner will receive unit topic workbooks written specifically for each unit of the programme.
All learners receive a comprehensive Learners Handbook, giving general details on the courses and support. Induction materails and 1to1 induction session via skype or face to face ensures learners start their study programme with a good foundation. Additional notes and handouts are issued for each unit of study.


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For those who chime in on occasion 'claiming no facts' are given on this blog here's a homework assignment for you. Yes, you will NEVER learn a damn thing if ALL your information comes in nifty little 30 second sound bites from your mainstream news channel, bogus documentaries by 'Frontline' and glossy 'Time' magazines that won't give you ALL the facts just one side of the story.
Below are ALL the links for you AND I to research to make sense out of our crazy world we're forced to deal with.
Labvirus dot com 'wordpress' had the most 'documentation' AND chronology on the weaponizing of the h1n1 flu strain. Unfortunately, Labvirus was 'censored' due to a 'QUESTIONABLE' wordpress violation. A video got leaked out and Labvirus posted it. The bottom line is that the labvirus link NO LONGER exists.
I will contact the author of the NEW labvirus on all the documentation and see if a new page was created OR if all that documentation was lost.
At any rate. Since this entry was posted the corporate lame stream media has had NO CHOICE BUT to report the multitude of laboratories creating weaponized influenza viruses. So, in light of all the news stories on weaponized influenza that have surfaced, it's not too hard for ANYONE with two brain cells to rub together to figure out that the h1n1 governments around the world WERE TRYING TO SELL THE PUBLIC into taking vaccines was most likely a weaponized virus as well.
Until I get word from Labvirus as to what happened to the h1n1 repository they once had I'll do my best to post a verity of links to similar data.


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Free Jazz Waltz Drum Grooves
MIDI files of Jazz Grooves
Isn't it time we did something jazzy? Of course it is! We have a brand new JAZZ WALTZ pack coming up, and you can listen to two sound clips using the Soundcloud player right next to this text. The first one is Toots Thielemans' classic Bluesette, performed by guitarist extraordinaire Thomas Berglund (Wasa Express, among others).
All drums are pulled straight off the Jazz Waltz pack, which of course was recorded by Magnus Brandell.
AND you can also download a selection of grooves from the jazz waltz pack, by clicking HERE. The grooves are arranged for Toontrack Superior Drummer, EZdrummer, Addictive Drums, Steven Slate 4, I-Map and General MIDI.
Sequence: Hip Hop Beat Creator
Product Highlight:
Sequence: Hip Hop Beat Creator
Big Fish Audio presents: Sequence Beat Production Plug-in
The Soft ware Soft sampler Soft sequencer is Hard to beat at this price.
Big Fish Audio, the top dogs in sample libraries have been known to drop soft-sampler instrument products from time to time. Their newest heavyweight is an NI Kontakt player-powered sequencer called….Sequencer.
"Sequence is another 'secret weapon' that adds a sonic palette to your arsenal and brings any producer's sound into a contemporary context."
Getting up to speed consists of two download packages. The Installer (~1.1 GB zip) and the Library (~766 MB zip). We updated to the most recent version of Kontakt.
and then registered the library. New to me was Native Access, the preferred method of managing your Native Instrument products. I was very comfortable with their Service Center and interestingly enough, you'll still need to keep the S.C. handy for legacy products.
Since the time of the super-producer passed, more has been required of the beatsmith. No longer is the signature sound of a producer the ultimate determining factor of a rapper's trajectory. Versatility is now key as the digital musician needs more sounds and styles at his fingertips. You are tasked with creating, cloning, crafting and commanding a kaleidoscope of compositions. Let's face it. Sequence is another 'secret weapon' that adds a sonic palette to your arsenal and brings any producer's sound into a contemporary context. In an average set of hands, you will have all the tools available to nail the most popular styles in today's commercial spectrum. In the hands of a creative talent, Big Fish Audio's Sequence is poised to usher in a new tool to facilitate the translation of your imagination into a…
Enough with the flowery talk.
The pros are the interface and stability provided by the Native instruments Kontakt host and the sound design and sculpting potential of Sequence's sonic engine. The con is the closed system that makes sample/sound import impossible. The promise is more and extended life from future expansion libraries. The plus is the price ($99.00 USD) and ease of use. The negative is 'if you can't beat them, join them'. The sonic imprint has taken a few turns in recent years and any producer who hopes to remain relevant needs tools like these. You can't always remix your ear, but you can add new tools to your studio for additional sonic variety. This is one of those purchases. Enjoy.
Wished for in updates…
1) Session files and modern song starters
2) live recording and
-Griffin Avid
Arturia DrumBrute: Analog Drum Machine & Sequencer
DrumBrute is a powerful beat-making instrument
DrumBrute is an all-in-one analog drum machine designed with performance and in-depth sound editing at its heart.
Providing 17 distinct, fully analog drum and percussion instruments with an intuitive sequencer, massive connectivity, a two-mode Steiner-Parker filter, and dynamic performance controls, DrumBrute will take your beat production to the next level.
Create energetic and exciting drum beats with a single, user-friendly device. With its vast sonic potential and smooth workflow, DrumBrute meets and exceeds the expectations of demanding musicians. Bridging the gap between inspiration and technology, DrumBrute offers punchy analog drum sounds, advanced 64 step / 64 pattern sequencing possibilities and ultra-effective performance controls.
Find out more: https://www.arturia.com/products/drumbrute/overview
Arturia DrumBrute Key features:
- Analog powerhouse: DrumBrute contains 17 fully analog drum & percussion instruments, including two kicks, snare, clap, open & closed hats, high & low toms and conga, maracas, rimshot, clave, tambourine, zap, cymbal, and even a reverse cymbal.
- Exciting synth features: the main output contains a highly regarded two-mode Steiner-Parker filter, allowing you to add dynamic frequency sweeps and satisfying bass drops. Not only that, but every drum sound has multiple parameters that can be tweaked to achieve your perfect kit.
- Easy to use, quick to learn: each one of DrumBrute's 64 sequences can contain up to 64 steps, and can be chained together in a song mode. Despite this massive performance power, punching in your perfect beat is simple and fast. Fans of vintage drum machines will feel right at home with the familiar layout.
- No menus: every feature has its own dedicated button, knob, or pad, so you'll spend less time navigating endless sub-menus and more time making music.
- In-depth editing: get in the groove with the natural Swing feature, inspire yourself by dialling in some Randomness, mix up your rhythm with Step Repeat, Roller and Looper functions, accent particular drum hits to add some punch to your beat… DrumBrute has a wealth of advanced features that will satisfy even the most discerning musicians and producers.
- Plays well with others: DrumBrute has extensive connectivity and sync options, including MIDI, Clock, 1PPS, 2PPQ, DIN24, and DIN48. This means that DrumBrute will work seamlessly with all of your other modular, synth, and sequencing gear.
- Amazing in the studio: DrumBrute boasts dedicated audio outputs for each instrument channel giving almost limitless options for external processing and multitrack recording; 3.5mm and ¼" headphone outputs so you'll never have to hunt out an adapter again; and it can act as a fully-fledged MIDI interface to control your DAW. DrumBrute is an essential tool for the modern producer.
- Reliable on stage: with rugged housing, chunky pads, and wiggle-free knobs, DrumBrute can be relied upon to perform show after show. Always striving to improve with every new release, Arturia have created a strong, enduring instrument that's ready for life on the road.
- Punches above its weight: DrumBrute stands toe-to-toe with the leading drum synths on the market, but at a fraction of the price. No other all-analog drum machine features such inspiring and dynamic features while retaining a sense of intuitive, tactile fun.
- ————————
DrumBrute is priced at 449€ / $499.
DrumBrute will shortly be shipping, and will be arriving at your local music store in November. DrumBrute is available to order now from the official Arturia web store, and from retailers worldwide.
For more information on features, specifications and dimensions, visit: www.arturia.com/products/drumbrute
513 Free Analogue Tube Drum Samples!
FREE goodies from our friends over at Samplephonics
Samplephonics says:
Some time ago we gave away some deliciously tasty drum one shots that had been processed with some gorgeous analogue tube saturation. Since then, the Samplephonics community has grown dramatically and we thought it would be a shame to deprive all of our noobies from the tube goodness!
We hope you enjoy this gift and turn these little beauties into something special. Send what you create with them to email@example.com
Until next time!
– The Samplephonics Team
Chicken Systems Translator Pro Software Interview
Chicken Systems Translator Pro Software Interview
Return of the ASR-10 part III
words by Drew Spence
Still rocking a hardware sampler and want to increase its palette? Ever wish you could expand your library by using the soundbanks of other samplers? Enter Chicken Systems with their Translator Pro software that converts across numerous formats. Let's dig in and get the full story.
Drew Spence: Although music, both sonically and production-wise has changed significantly in recent years, the hardware sampler still get used in some important ways in the studio. What do you attribute its staying power to?
Garth Hjelte: I think in many ways, the dedicated hardware sampler "feels" more like an instrument than a systematic software sampler that integrates perfectly with modern recording systems. The sound that comes out often feels like it was manufactured AS a music instrument, not merely imitating one. And I'm saying this in regard to all types of sounds – not just imitative sample sets but also synthetic textures or even drum and percussion sounds.
Right now I put hardware samplers in three categories: first you have the real old stuff circa late '80's early '90's where even if the sampler was 16-bit linear, the sound was hardly that. Listen to a hi-hat on one of those machines – it's much trashier and not as transparent. Other sounds have that "rounding" and slippery feel to them. Pads and strings can have this special thickness to them.
Second, you have the samplers built in the mid/late '90's, like the Akai S5000/Z-series, or the MPC1000 series, or even the Emulator 4. These were attempts to get better sound quality and generally they succeeded. Although at the time they were (and should have been) highly regarded, this is only because no computer-based system truly existed yet. After the software revolution (starting with Giga) got started, time passed those units by. Most of them just didn't have the trashy charm the older stuff did.
The third category is the new workstations (Motif, Kronos) that have a fairly solid sample-playback engine in them. These are worthy of note because they allow live playing to included user-contributed things in addition to the solid ROM packages they offer. Not only that, in recent years they are innovating past the "loading on startup" things. The Motif XF can hold 2GB of flash memory – wow! The Kronos can stream from SSD hard drive. The Kurzweil PC3K has 128mb of flash.
So, back to using older hardware samplers, I think artists are looking for that more organic approach and they are finding it with the older samplers.
Chicken Systems has been around for a while. How did you get involved in the translation process and why?
We started out in 1988 doing only Ensoniq things – selling sample sets, hard drives, consulting, writing. In the 1990's some DOS programs came along that could read and write Ensoniq floppy disks AND the SCSI drives. That was nice – it helped us duplicate the floppy sets we sold – but we wanted the authors to improve their programs, like make Windows versions of them, add features. They refused, so we wrote our own. These are the Ensoniq Tools programs and we even sell them today. These were the first computer programs we ever wrote and although they were innovative, we made our share of mistakes writing them.
The Ensoniq ASR-10 was out for quite a long time before a successor came out – the ASR-X in the mid-1990's, and since the Tools programs were doing well, we decided to write Ensoniq ASR-X Tools too. One big problem with the ASR-X was that although they included the ability to read EPS/ASR disks, they didn't read the envelopes correctly. The ASR-X did not have a initial level parameter – it assumed zero – where as the EPS/ASR did, and they didn't compensate for it. So any sounds – even to this day, they never fixed it – where the initial level was pretty high or even greater than zero, and the attack time was greater than perhaps 50ms, came out as a slow or fluffy attack on the ASR-X. Plus, the ASR-X wasn't truly programmable from the front panel – it needed a computer program to get at things to truly program it.
So, in Ensoniq ASR-X Tools we wrote our own converter that did a better job, and we called it… Translator. It still exists in the program.
Anyway, a couple years later, I think around 1997, I attended the NAMM show in Nashville upon the urging of Robin Boyce-Truitt of Keyboard magazine. The question in my mind was "what should my company do next?" Ensoniq had been purchased by Creative Labs and it was clear that the company was just hanging on. The ASR-X wasn't really a true sampler, it was a groove box. Plus, for some reason, samplers were not good sellers back then. I think it was because no more innovation was taking place. I didn't know it at the time, but most professionals were still using Roland S-760's and Akai S3000's created in the early '90's.
So I remember thinking that if my main market was Ensoniq's, one thing I could do was to really start making more sounds for it. Unfortunately, I had to admit I had limited resources in which to do this. Paying full orchestras or going heavy programming my own sounds wasn't truly in my wheelhouse anymore, although I liked doing it. But after programming a couple successful Windows programs, that's what I enjoyed doing. So I had the idea of combining the ability to read AND write Ensoniq disks and expanding that to read other samplers disks, like Akai and Roland and Emu etc., in order to allow people to have infinite libraries, because there were untold thousands of Akai titles out there. Why program your own libraries when you can allow people to convert existing ones? The ultimate leverage!
Currently the ASR-10 allowed reading Akai S1000 and Roland S7x programs and patches. Not S3000, and plus the import was so-so. Since I noticed the EPS->ASR-X problem, I thought I could do a better translation PLUS add a great interface and supply even more formats. So I started programming the program, which I remember naming it at the 1997 NAMM show, walking along the sidewalk next to the convention center, as TRANSLATOR.
I spent the following months getting better at reverse-engineering foreign disk and file formats. I had some great help along the way with old Ensoniq people helping as well as some brilliant German engineers. I figured out AKai's, Emu's, and Roland's formats alongside Ensoniq's. The dream was being realized! The program was coming along nicely but was not released as yet.
Then it all started spiraling, and I was the right person (now as the corporation called Chicken Systems, I added several partners at this time) at the right time. During the next year, the first software sampler appeared – Seer Systems Reality. That was our next destination format. The Seer Systems guys helped me figure out more formats, as well as theirs. The more we worked on it, the better we got.
However, the real big thing was coincidentally in the same city – Austin Texas. This was were Nemesys started and Gigasampler was born. At first I considered them a competitor with Reality and I liked the Reality guys. But Giga had this new thing called disk streaming which allowed extremely large sample sets. Based on the advertisements and the external press, it was impossible to ignore.
I can't remember at the time if we initially released Translator with conversion into Gigasampler, I don't think we did, but it came out shortly afterwards. Sales then exploded. It was the perfect product to support, as it was Windows only, and we were only programming for Windows. Perfect.
So Chicken Systems had to start adjusting not only to a lot of money rolling in, but also how to keep up with the huge demands of better import coding and more formats. SampleCell, Kurzweil had to be supported. Plus, we were looking into new destinations. From the beginning, we committed ourselves not just to read all formats but to write to them. Plus, the new formats drew in the market of Mac users, and how were we going to make a Mac version?
I'll leave the explanation of the 2000's for another time, but basically that's how we started innovating our core technology, which is translation instrument formats between each other.
I figure with your experience under the hood and behind the code with all these samplers, you could give us a few recommendations for a hardware sampler for someone who is new to production…
Well, it's hard to recommend a hardware sampler, as the needs for it are so limited these days. Back 10-15 years ago, a hardware sampler would be for the true task of sound emulation in a studio or live. But not anymore, software samplers are ALWAYS much much cheaper – even free! – plus they are always better in most every way.
Hardware samplers haven't gone away though. There are three types of markets I can count:
1) Nostalgic people who desire or appreciate the sound of older samplers
2) People who like the tactile response of something other than a computer
3) Workstation users (Korg Kronos, Yamaha Motif, Roland Fantom, other) who want to use the sampling sections to augment their ROM sets
The first set of people still use their Ensoniq's, or old Akai MPC's, or Emu Emax's or Emulator III's. Those were samplers that were here before the really pristine 16-bit samplers that sounded PERFECT. (Mostly those samplers are less desired because although they usually have more memory and features, there's nothing unique about the sound. You might as well use a cheaper and better software sampler.)
The second type of people appreciate any hardware piece, and I think as far as true samplers go, really the Akai Z4/Z8 were the ultimate in that regard. Up to 512mb of memory, 24-bit, and you can use the akSys software to remote control it from a computer.
The third type of people at least have the modern era on their side. The Yamaha Motif XF and MOXF have flash memory, so you can actually create sounds and instruments and save them to the flash memory, so you don't even have to load them or wait for them to load. Plus with the workstations, you can gig with them within hesitation.
What about software? If I use something like Kontakt, does it still make sense to acquire the older sampler disks and translate them or should I just focus on newer libraries?
Completely up to the user! I don't think a blanket statement can be made like "the newer things are best", although newer libraries really are excellent and hard to beat. But older libraries – even going back to Roland S7x libraries recorded in the 1990's built for 32mb – have a excellent charm to them. I remember reading something about the band Heart, early in their career when they did lots of experimenting in the studio, that "everything comes out of only 2 speakers with other instruments ultimately anyway". That's true, so often the old sampling/old recording almost serves the purpose of what tube preamps and modeling plugins do today.
I would advise anyone to take advantage of the large availability of sounds and choose what's best for you, plus do not discount older sounds, they often are free to little investment, yet you'll be very surprised at how they sound. And, although there were garbage sound sets made in the past, it wasn't so nearly prevalent as today, where the 40GB sound sets you get with a sampler often are fractionally usable.
How do I know what older formats hold up best? Is there any difference between these formats or any sampler's library I should avoid?
They all are good. To be precise, we are talking about Akai, Roland, Emu, Ensoniq, Kurzweil, SampleCell; plus SoundFont. All pretty much share the same program structure. Akai by far has the greatest selection – there probably 25x as many Akai titles than the other formats. And with the other formats, they tend to revolve around what the manufacturer produced, there are few 3rd-party libraries. The people that broke the mold on that were primarily Spectrasonics/Ilio and East/West, being the largest producers. And regarding SampleCell, for years the Bob Clearmountain drums were the best selling sample CD library.
Can I use Translator as an instrument and play my samples from its interface or should I get a VST sample-host or program like Kontakt or Reason… or…? Are there any ideas to just making a VST version that loads everything?
Translator can audition instruments but it's just to "see what they sound like generally". It's not for playback or performing.
Right now, I'm interested in the full bundle, but I read that soon they will all be merged into a single workstation. How is that coming along and how soon do you project it might be available?
SamplerTools is a bundle that includes the full versions of Translator, Constructor, and Instrument Manager. It doesn't eliminate the selling of the three products, it's just an extension of them. SamplerTools also includes 2 extra features: more features in each separate program that include the capabilities of the others, and a integrated interface (think new application) that includes all three features of the bundled programs in one interface. The two things are not complete yet, but we are shooting for a 4th quarter 2014 release. SamplerTools is being sold now, just with licenses to all three bundled programs. Registered owners will get the two additional things when they are released.
We thank Chicken Systems for this awesome software and the time. Find out more by visiting their website. http://www.chickensys.com/index.html
Limits and Limitations. A Message for 2015
Wishing you well in the coming year…
Words by Drew Spence
I'm sure you've heard the saying "You can't teach an old dog new tricks" Or that old(er) people become "Set in their ways". We look at that- as a statement related to stubbornness and unwillingness to change or adapt. That rigid and dogged determination to remain the same is rooted in believing you have 'mastered yourself'. And mastering means you have learned enough about yourself to tell others exactly how you operate. The problem is, I have never heard this sentiment used in a positive way. It usually refers to or outlines an imagined boundary and leads to excuses.
"I'm the kind of person that needs…."
"Knowing me, I probably won't…."
"See, the way that I am…I can't…."
"I really don't do well, when…"
Instead of learning about where you need work, you've adopted a policy of avoiding anything that requires real work and effort.
"I tried that before and it didn't work for me"
And so, instead if changing or improving the 'me', it's easier to settle for living your life based off your natural talents and tendencies. You basically won't do anything if it doesn't come easily. Your definition of Mastering Yourself is actually learning to live within your limitations.
True Mastery is knowing how much work must be done on you before you can tackle a task. It's realizing you may need to temporarily become a different type of person to achieve a particular goal.
A wise Kung-Fu Master once said:
'Becoming a [Martial Arts] Master is not about being a master over others or an art. It's becoming a master over yourself. You still have limitations, but you realize you can overcome them in the important moments you need to."
It's all about adapting and adopting…and adding new traits. How can you arrive someplace new by following the path you've been down before?
Resolutions and Re-Solutions
So why is this on the Producer's Edge Blog and not The Dynamic Universe or even Rapper's Delite? Because, as producers and artists, we tend to create a body of work and then use the overall assessment to assign limitations. They can sometimes be hidden by starters like "I work best when…" or "I'm in my zone if…". That opening is usually followed by a narrow parameter which, in truth, is another limitation. Have you ever heard someone claim they have a dating type? This person is 'my type'. And they know this by having several failed relationships with that 'type of person'. That's not their type, that's simply who they keep choosing to date- regardless of the success rate or outcome. Your type is found in the relationship that works, not in the many that don't. And that relationship works or fails by what you become while you are in it, not simply what passed easily between the two of you. That is our producer's Edge – that understanding and choice of achieving something beyond the expected. The push to be more and find that limitation and then move the bar higher.
Learn yourself to learn what more you need to learn
I close with thoughts on resolutions. They seem to always be external.
I want this to be better…I want more…I want a new…
Imagine if all that change was focused on improvement… if we were focused on attitude instead of altitude.
a BETTER state of mind.
MORE willingness to grow and acquire new skills and habits.
a NEW way of looking at ourselves
Let's choose to be where we want and achieve what we want by Wanting to improve where we place focus and even what we choose to focus on.
Have a productive 2015.
-Drew Spence, Producer's Edge Magazine
Kelvin Wooten interview Producer's Edge Magazine
Kelvin Wooten
interview with Drew Spence Producer's Edge Magazine
Those of us familiar with your story might appreciate the idea that Raphael Saadiq was on a phone call and overheard you going to town on a keyboard, in the background, and decided then, that you were a talent verse adding to his sound. But I find it more important to know, to gain insight on how an artist should treat their passion before being discovered that allows blessings to happen. If I am driven and do have desire what should I be doing, every day, to bring opportunities closer?
The opportunities just come, I believe. Whatever is driving you should stay in the driver's seat… at least until you get to your destination. However, when starting out, I think it's good to not know [the destination] sometimes. Take the time to hone in what you THINK you want to do…you may discover that it's not what you thought. Once you know what it is, the opportunities come by being in the right place at the right time. And by right I mean the opportunity lining up with your passion. You will know. Everyone that knew me in 90s knew I was the biggest Tonies fan there was…and then Raphael calls…it was just right, and I knew it.
As a multi-instrument player, aside from the common traits of each, what attracts you to each piece?
Curiosity, I think. I always desire to find a common thread with each instrument I play. Basses and guitar have a similar makeup, but I relate them to the piano in my mind.
A guitar or piano seems like a natural addition to any session, but what about the more unique instruments, like the tuba and even acoustic drums in such an electronically tilted scene?
When done in good taste, sounds from anywhere can really work well together. Sound is sound, and texture is texture. You get that texture however you can. In my case it's with a tuba, a fuzz box on a P-bass, or a saw-wave bass from Massive. In many ways I like where music is heading when I hear acoustic with the digital. It always refreshing on the first listen because you never know what could work together until you actually hear it.
And I do see the balance. True musicianship will always be valued but the advances of technology opens up so many doors. How are you able to incorporate a live musician aspect with programming and even gear pieces like NI Maschine?
It's crazy, because the Maschine is the backbone of my workflow now. I just play it with feeling, trying not to quantize too much, and also using organic or real drum samples. Sometimes hearing the right acoustic kick or hi-hat on pad will dictate how it should be played. I will approach the sound as a real drummer would most of the time. I like the fact that the sounds are act my fingers sometimes and not turning on the console and miking the kit. It's easier in my opinion to get the idea out and on to the next thing. Sometimes I may replace with the real thing and sometimes it's fine how it is.
Is it okay to just play or does the modern scene demand a knowledge of computers and digital workstations? Do I need to know both; a musician's language and now the techie jargon, just to get my creative ideas down?
Being a musician, it sure helps to know both sides. Modern advances are tools, and if used correctly the opportunities open up greatly. Just so long as you never forsake one for the other. I can spend more time being creative on axe when I'm not devastated by the computer screen. Shucks, the computer can play something I hear in my head that I can't physically do sometimes. I'm not out for an award to be the most proficient on my instrument. I'm trying to make a track feel good. And the computer helps a lot when it's just me and it. I'll shred the lick when it's time to do it live….
I've always felt players add a unique aspect to any session and offer a greater creative contribution – beyond the instrument they play. What advice would you give new producers, when considering going that next step and adding a session player or musician to their productions?
At whatever level, I think it's important to hire the right musician for the job. Having a musician in his or her element means you don't work as hard and pull teeth in the session. The morale stays high and everyone has a sense of worth and accomplishment. You're more likely to be that much more respected in the musician community when that musician leaves telling their peers how much fun they had working with you as a producer.
And, at what level should the production be at before adding outside help? Is it about a gear level, a sound that should already be in place and is the mind set a factor?
It depends. You should be able to at least convey your idea to the player and they understand. If it's a drummer, make sure the click track works for that drummer. If it's a trumpet playing a super specific line, see if you can record a dummy track of it for reference…especially if you can't write it out or don't know your notes. When I'm the producer, I handle all the techie stuff so a player can play and relax.
Does the base musician skill set translate over generations or do you feel like you need to update your sound or technique every few years? Does a Jill Scott want the same artistic contribution that, say an Anthony Hamilton or Chrisette Michele would?
I think if the want you as the producer, they want what you can contribute from the base. While working with Saadiq for years, we'd get new toys and sounds for us, but wind up playing the same ole lines that people like. We knew we had our own vibe and that's what artists liked. We tried to stay as relevant as possible by adding new soundsets every now and then.
Do you listen to modern tracks and allow the current sound to influence you or is it always about tapping in to your own voice and staying with what you naturally lean towards?
Oh, I listen. I listen to be heard and to be relevant. To adapt means to embrace the changes, at the same time not leaving what you do.
A studio is more than a room with equipment- It's about the attitude and atmosphere. A studio should create a comfortable space that allows artists the freedom to tap into their most creative energies. Please tell us a bit about WoodaWorx and how you came to have such a diverse clientele.
I really like a lot of different music. I never know where my musical endeavors may lead, so I create a space for all to feel at home. From country to hip-hop, gospel to alt-pop… I want everyone to feel a sense of creativity from the room itself.
And what is the working system there? Is it more of a family tone where creative ideas are tossed about at leisure, or is it more directed towards a productive work ethic? Would you say there's a general vibe or does it vary from artist to artist?
It changes and adapts to the artist or the client. If it were left up to me, I'd watch stupid and senseless Youtube videos 50% of the time! Those videos are icebreakers for a dull and dry session.
Let's close with a little talk about your relationship with Anthony Hamilton and how that chemistry creates Home for the Holidays.
Me and Anthony are like brothers in and out of the studio. We rarely have any notions prior to recording or writing…if it comes, we seize it. If not, we'll go eat and watch more Youtube videos. The music has to breathe, I believe. Laughter is place where we feel comfortable and can breathe. Once we aren't thinking about the music, we make the best music.
And my final thought is about what kind of advice you offer the readership and what lessons you've learned about unlocking the creative potential by working alongside musicians and other talents that share our interests.
I'd say don't think about it so much and just do it. It's easy to unlock if you never lock it up. Don't ever think you have to be at some super high level to be heard. You never know what resonates with people. Do it and get it out.
PE Mag would like to thank Kelvin Wooten for taking the time to talk to us.
You can bring home Anthony Hamilton's Home for the Holidays this Holiday and make sure it's locked in for every year as a new favorite. We have!


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Quick Info
- IT Home
- News/Blog
- How Tos
- IT Support
- Office Hours for Staff Support
- Office Hours for Student Support
You need your JACOBS domain user account. This is the CampusNet user name, and the CampusNet password.
If you don't know your CampusNet credentials, please see here: log-in to CampusNet.
The computer to logon with the JACOBS domain account has to be member of the JACOBS domain. If the computer is a standard installation from IRC-IT, it most likely is. If the machine was setup by someone else or based on specific requirements, it isn't.
If it isn't, you can't.
Login to a print server for printing does not require the client computer to be part of the domain.
The domain name is JACOBS
See JACOBS domain for more information, esp. on how to reset passwords.
On a Microsoft Windows login screen you have to enter only your CampusNet user name and then have to choose the domain from the drop-down box.
Don't use the local machine "domain"
Within the drop down box, the name of the computer you are trying to login to appears. Do not use this entry! Use JACOBS!
Sometimes, e.g. if using a non-JACOBS computer to access network shares, you have to specify your name as DOMAIN\USERNAME, known as Windows domain notation.
An alternate syntax to write the login name in such a case is email@example.com, known as Kerberos notation.
Hence, if your account is jsmith, the notation of your username is either JACOBS\jsmith or firstname.lastname@example.com.
If you are logging in to a Windows machine, at the login prompt, your username is jsmith, and from the drop down menue below select JACOBS as the domain to login to.
Don't confuse this with your email address
Just because there is an '@' sign in the Kerberos notation of your domain name does not mean, that it is an email address. You can not login with your email address.


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Hello All,
What are your favorite harmony singing resources? I have made great progress playing guitar as well as singing lead over the last few years. I still find harmony singing quite difficult. What do you find as the best method for singing harmony parts?
Very helpful. One CD covers harmony above the melody and one covers harmony below the melody. The set contains multiple exercises which I had to do many times before I could start to get the harmony part right. So, just like playing an instrument if you do the exercises you will be able to do it if you don't do the exercises you will not be able to do it.
The old fashion (read traditional) way of learning harmony was to sing parts in church choir. That's how many of your original bluegrass players learned.Give it a try. The other traditional way is to use the chords of the guitar to develop harmony lines. Find the lead note in the chord, any chord, and all the other notes have to be harmony notes. It's as simple as that but really not that simple. Another traditional way is to memorize the harmony a group sings in what ever tune you are learning. Many, maybe most, Bluegrass, folk, Old time, whatever players learn harmony that way. I prefer using these 'ear' methods over trying to learn formal harmony from CD lessons or books.


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What do you want your wedding to be like?
Contact us with what you've got in mind or let us inspire you with some ideas of our own.
What do you want your wedding to be like?
Contact us with what you've got in mind or let us inspire you with some ideas of our own.
One of the best wedding venues in the West of Ireland. Our 11,000 sq ft Clubhouse overlooks the 18 hole championship golf course, and the breath-taking views of Galway Bay.
With a terrace on two levels, manicured greens and the ocean as a backdrop, our Rinville Point Restaurant and Function Room seats up to 200 guests for your special wedding occasion.
With modern furnishings, quality food, luxury and style throughout the building, both you and your guests will remember your wonderful day forever.
Only 10 minutes from Galway City on the Wild Atlantic Way, we have a unique setting. Packages include an individually tailored menu and a dedicated wedding coordinator on hand to help you plan your special day.
Civil ceremonies and bespoke packages at your convenience. Galway Bay Golf Resort delivers your wedding reception with a sense of style and elegance that will build wonderful, lasting memories of your very special day.
Capacity: 200 people
Cost: Starting from 40 euro pp
Wedding Coordinator: Dave Wensley
Why Here? Beautiful surroundings, delicious food, experienced friendly
staff and incredible panoramic views make the Galway Bay Golf Resort
the perfect destination for the Wedding of your dreams.
Your Wedding Story is Unique, Your Wedding Venue should be too.
Breathtakingly beautiful……Galway Bay Golf Resort is located in Renville, Oranmore, ten minutes drive from Galway City.
Endless photo opportunities will capture your wedding day forever. From intimate photographs of you both next to our decorative landscaped heart or photos right at the waters edge. Your drinks reception will begin in our downstairs lobby and out on our terrace, you will then continue upstairs to our Rinville Point banqueting suite where five star food and service awaits.
We can host indoor and outdoor Civil Ceremonies, for outdoor ceremonies, we have beautiful manicured lawns and spectacular views of Galway Bay. Its even possible to arrive by helicopter, imagine all of your guests waving to you from our balcony as you arrive for your big day – uniqueness personified.
For second day events we have lots of options also. Private dinners, BBQs & Lunches to name but a few. We would be delighted to help plan your dream wedding.
E-mail firstname.lastname@example.com for more info
Galway Bay Golf Resort, Renville, Oranmore, Co. Galway, 091 790711,
Beautiful surroundings, delicious food, experienced friendly staff and incredibly convenient location make the Galway Bay Golf Resort the perfect destination for the Wedding of your dreams.
With an abundance of experience, enthusiasm and talent, our Events Team is here to help you every step of the way.
I experienced the fairy tale wedding that I always dreamed of at Galway Bay Golf Resort, thanks to the staff and their five-star hospitality! Deirdre Byrne


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Buy Epson Stylus DX3800 printer ink cartridges, Epson Stylus DX3800 compatible inkjet printer cartridge offers on every page, printer cartridge offers on Epson DX3800 compatible printer cartridges. T0611, T0612, T0613, T0614
These printer ink cartridges are quality guaranteed compatible Epson Stylus DX3800 printer ink cartridges. Our printer cartridges are made with ink from the usa and will work perfectly in your Epson Stylus DX3800 printer, all items are fully guaranteed for printing quality.


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We use crowdsourcing of 500+ people in the work on each project. The project manager creates 7+ related projects for employees and advises auditors. Auditors check each employee and form a report. Each link to your site posts among 10 new unique comments and get 20 social sharing. That's why we call this crowd marketing.
We post natural links to a sites from 2011 and placed 100k backlinks onto 15k sites. We are familiar with the Google Zoo, and we know exactly what should not do on link building. We have worked hard to debug the technology of "crowd marketing" for a year and now are ready to introduce it to you.
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The Very Paranormal BLOG HOP is OVER!
Scroll down to see the winner, who chose My Honorable Highlander as her prize!
And...the WINNER of the
Kindle Fire HD 7" Wi-Fi 16 G
results powered by Random.org
Entry #9330April H.
The HOLIDAY SEASON is here and the New Year is right around the corner! I have joined oodles of wonderful authors, to offer fantastic prizes for you, the reader.
to learn more about my books.
Here are a few Book Blurbs:
My Honorable HighlanderA modern day witch's love spell goes awry when she is cast back in time while volunteering at the Highland games. Ripped away from her best friend, her married ex-boyfriend, and still wearing her villager costume, she meets a plaid-wrapped Highlander in 1598 Scotland.
Forced to follow an edict by James VI, our scarred, lonely hero decides to marry in order to end a century-old feud. As clan chieftain, he is torn between duty and love the moment he stumbles across a beautiful woman wandering the Highlands.
What follows involves two people whose personalities grate amid a deepening passion. With a spy in their camp, a kidnapping, and our hero's secret betrothal, they endure spells, battles, and treachery. Our hero's duty and her awakening desire lead them toward a happy ending.
My Banished Highlander
When his clan convicts Cameron Robeson of treason in 1598 Scotland, the last thing he thought his cousin the Laird would do was banish him to the future. With a certain woman on his mind, he plans revenge while surrounded by the sights and sounds of the modern day New England Highland Games. His plans go awry when a comely redheaded lass wearing the Mackenzie plaid lands at his feet.
Iona Mackenzie is worried about her friend, Haven, and searches for answers among the tents at the games. Whom can she trust to help? Her father? The handsome blacksmith? Or, the tall, golden-haired Highlander? Romance takes a back seat because saving her friend is her priority, no matter how great Cameron can kiss.
When a magical amulet and an angry sorcerer send this unlikely couple back through time, more than one heart will be broken. Danger, intrigue, and threats surround them, and feelings between Iona and Cameron grow hot and steamy. They fight the sorcerer and search for Iona's friend, the woman he vowed to steal from his cousin. Will the strong-willed Highlander and the present day witch stop fighting long enough to listen to their hearts.
My Reluctant HighlanderSkye has spent the last five years trying to forget the blacksmith who followed her back to 16th century Scotland, to help fight evil. Sending Jake Jamison home against his will was a disastrous mistake. She risked everything attempting to defeat Andreas Borthwick. Jake might have defeated the evil sorcerer, preventing her husband's death. When she prevents the sorcerer from grabbing her nephew, he takes her instead. To escape, she defies time to find Jake.
The last person Jake wants to see is the young woman from ancient Scotland; the same woman who has haunted his dreams since she blackmailed him into traveling back in time. Before he could save Skye Gunn's people, she had sent him home. Until he met Skye, his life had been normal. Quiet, and uncomplicated. No one knows he is a firebreather, except her. His ancestry is a mystery. When Skye falls into his bed—beaten, bloody and beautiful—Jake must choose to trust her, or turn his back on the only woman he's loved across time.
Skye encourages Jake to use his ability to help her kill the sorcerer. Stealing his heart was not part of the plan. Jake must share his secret, Skye must give her heart fully, and both must dare to love in the time they have.Sign up with Rafflecopter
(I use it to get the winner's email,
but I do not collect emails)
I will reward One Winner their choice
of an E-Book from my
Highland Games Through Time series
My Honorable Highlander Book #1
When the Blog Hop ends
the Sponsor will choose one overall winner
The GRAND PRIZE is a
Kindle FIRE HD E-reader!
Hurry! This fantastic Blog Hop
ENDS December 30th!
Scroll down and visit the other authors. Each one is offering a FABULOUS PRIZE!


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Mountain View's mapping service is back on iOS, but Google's cartography team isn't content with launching a standalone app: it wants to worm its way into other developer's apps, too.
Leveraging a URL scheme, Google Maps' iOS SDK allows developers to call up its own navigation application in favor of iOS 6's offering. The SDK also demonstrates how to perform a quick check to make sure Google Maps is installed, allowing apps to default to Apple's solution if it isn't found.
Developers looking for a more integrated solution can request access to API keys that will allow their apps to natively utilize Google's cartography in 2D and 3D views. It's a subtle hand to play, but the updated SDK gives developers more control over the experience they offer to users, a good thing, to be sure. Looking for access to the new API? Register your interest at Google's developer site — it's doling out access to qualified developers as API keys become available.
Via : Google


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Your domain name is your first step to establishing an identity on the Web.
It is used to create your Web address (eg www.mysite.co.nz)
and to create your email address eg email@example.com.
To register a domain name1. Search for a domain name
Check that your domain name has not been registered by someone else. Search for an available domain name today, even if you do not intend using it immediately.2. Forward your contact details
When you have found an available domain name, go to this page and enter your ownership details. They will be emailed to us.
3. Pay for the Domain name
Price: $70.15 inc GST per year.
Please make a direct credit payment for $70.15 (inc GST) for one year's registration and email us at email@example.com to advise us of the payment:
Reference.............. Your domain name
Bank..................... ASB
Branch.................. Walton St
Account Name....... Action Web Design Ltd
Account Number.... 12-3115-0148949 00
Your domain will be registered upon receipt of payment and contact details.
A GST receipt will be forwarded to the email address provided.
If you value your brand, we recommend registering similar domain names. eg yourname.nz as well as yourname.co.nz. We will point your registered domain name to your website for no extra charge.
If you wait, somebody else may take your unique name.
You can register as many domain names as you like.


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Gesture Search for Android smart phones now available
Not that anyone was anticipating it but Gesture Search, a new application from Google Labs is now available for Android 2.0 users. Gesture Search, for which we have provided a download link below for people with Android devices who wish to give it a go, allows you to search through your smart phones (most likely Google HTC Nexus One or Motorola Droid/Milestone at the moment) by drawing alphabets on your screen that relate to your search. More below on Google Gesture Search for Android.
As you can see in the picture above, your handwriting need not be perfect and even so the Gesture Search application will try to work out the closest match possible.
In this set of images from the official Google Mobile blog, you can see that the user was trying to search out first "A" and then "N" using Google Gesture Search. Although to be perfectly honest the A looks more like an "H and the n is rather looks like an "h".
But as you can see in the next picture, it all works out and Gesture Search manages to go through your contacts, applications, bookmarks, music, etc and find a result suitable for your query.
To download Google Gesture Search, go to the Android marketplace or if you have the Barcode Scanner application installed click here and follow the instructions at the Google Gesture Search download page.


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Middle School Girls Soccer
Eager to earn a row of W's for the HPA girls' soccer record, our Eagles are fast of their feet. The ambitious season begins in mid January and continues through early March. The girls will be looking to Heach Coach Ashley Pierce and Assistant Coach Jaime Gibson for leadership this year.
Who Can Play?
We don't require that students try out, but all students must be, and remain, eligible to play. A student is eligible to play when her grades are 70% and above. Eligibility is checked bi-weekly beginning in mid September. When found ineligible, a student will sit out until the next grade check, which will occur again in two weeks. If the student's grade has improved, she may play again at that time.
Practice is on the grass near the bus lot from 3:30-5:00 on Mondays, Tuesdays, and Thursdays. When a game is scheduled, practice for that day will be cancelled.


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Thursday March 1
6 pm-8 pm
This event is FREE for all MES students and their families!
Come join us to explore fun and educational hands-on experiments, demos, and builds in the fields of science, technology, engineering, and math (STEM). Fun for the whole family! The event begins immediately following the Science Fair, so plan to join us for a full night of STEM fun!
Presenters include:
- NIEHS Veterinary Medicine
- Mathnasium
- CraZBrain
- Zaniac
- STEM for Kids
- Engineering for kids
- Techsplorers
- The Coder School
- Bricks 4 Kidz
- MES Robotics Club
- Green Hope High School Robotics and 3D Printing
- Discovery Tech
- Preston Animal Hospital
- Duke University [Molecular, Genetic, and Microbiology, Chemistry, Genetics and Genomics, and Shared Materials Instrumentation Facility (SMIF)]
More info to come including a food truck dinner option!


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This class is for the shooter that has prior experience or training shooting from a holster, but a CCW license is NOT required. Working from a holster (IWB or OWB), we will progress through drills such as moving while shooting, shooting from cover, and drills in various lighting conditions. The courses of fire will challenge you and sharpen your shooting skills. It will help maintain those skills that diminish without regular practice.
Price: $85
Required Equipment:
- Semi-auto pistol
- Holster (no collapsible or serpa)
- 2 or 3 magazines – Eye & ear protection
- 200+ rounds (no steel core)