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Theory of Thermoviscous Acoustics: Thermal and Viscous Losses
When sound propagates in structures and geometries with small dimensions, the sound waves become attenuated because of thermal and viscous losses. More specifically, the losses occur in the acoustic thermal and viscous boundary layers near the walls. This known phenomenon needs to be considered to evaluate how these losses affect thermoviscous acoustics systems in order to build accurate models and match experimental measurements.
An Introduction to Thermoviscous Acoustics
When modeling the response of small transducers, like condenser microphones, MEMS microphones, and miniature loudspeakers, it is necessary to include thermal and viscous losses. Other applications include analyzing feedback in hearing aids and mobile devices as well as studying the damped vibrations of MEMS structures.
Analyzing the transfer impedance of the standard IEC 60318-4 occluded ear canal simulator, sometimes referred to as the 711 coupler, is a good example to demonstrate the simulation of a thermoelectric device, and is depicted in the figure below. In the graph to the right, the response is modeled with and without thermoviscous acoustic losses. It is evident that these types of losses need to be included in a simulation in order to capture the correct behavior when comparing the curves to the standard data.
The pressure distribution inside an occluded ear canal simulator at 7850 Hz (left), complying with the IEC 60318-4 standard. The modeled transfer impedance of the coupler is shown in blue, including thermal and viscous losses, together with the prescribed standard curves in red and the curve resulting from a pure lossless model in green (right).
The thermoviscous effect is typically most pronounced at resonances, broadening them and shifting them down in frequency. To model these effects, it is necessary to include thermal conduction effects and viscous losses explicitly in the governing equations, solving the momentum through the Navier-Stokes equations), mass (continuity), and energy conservation equations. This is achieved by solving the thermoviscous acoustics equations in the Thermoviscous Acoustics interfaces in the Acoustics Module. The equations are also known as the viscothermal acoustics or the linearized Navier-Stokes equations.
Here, we will present the physical background for the thermoviscous acoustics equations along with the important boundary layer characteristic: length scale. We will also provide a short description of the material parameters necessary for describing fluid media.
Exploring the Physics Behind Thermoviscous Acoustics
Acoustic waves are the propagation of small linear fluctuations in pressure on top of a background stationary (atmospheric) pressure. The governing equations for the fluctuations (the wave equation or Helmholtz's equation) are derived by perturbing, or linearizing, the fundamental governing equations of fluid mechanics, including the Navier-Stokes equations, momentum equation, continuity equation, and energy equation. This results in the conservation equations for momentum, mass, and energy for any small (acoustic) perturbation.
For many acoustics simulation applications, a series of assumptions are then made to simplify these equations. The system is assumed lossless and isentropic (adiabatic and reversible). Yet, if you retain both the viscous and heat conduction effects, you will end up with the equations for thermoviscous acoustics that solve for the acoustic perturbations in pressure, velocity, and temperature.
Deriving the Governing Equations
The procedure to derive the governing equations in the frequency domain starts with assuming small harmonic oscillations about the steady background properties. The dependent variables take the form
where p is the pressure, \mathbf{u} is the velocity field, T is the temperature, and \omega is the angular frequency.
Primed (') variables are the acoustic variables, while variables accompanied with the subscript 0 represent the background mean flow quantities.
In thermoviscous acoustics, the background fluid is assumed to be quiescent so that \mathbf{u}_0=\mathbf{0}. The background pressure p_0 and background temperature T_0 need to be specified (they can be functions of space T_0=T_0(\mathbf{x}) and p_0=p_0(\mathbf{x})). Inserting the above equation into the governing equations and only retaining terms that are linear in the first-order variables yields the governing equations for the propagation of acoustic waves, including viscous and thermal losses.
Note: Details on this process can be found in the User's Guide of the Acoustics Module in the "Theory Background for the Thermoviscous Acoustics Branch" section.
The governing equations in the Thermoviscous Acoustics interface, in the frequency domain, are the continuity equation (omitting primes from all the acoustic variables)
where \rho_0 is the background density; the momentum equation
where \mu is the dynamic viscosity, \mu_\textrm{B} is the bulk viscosity, and the term on the right-hand side represents the divergence of the stress tensor; the energy conservation equation
where C_p is the heat capacity at constant pressure, \textrm{k} is the thermal conductivity, \alpha_0 is the coefficient of thermal expansion (isobaric), and Q is a possible heat source; and finally, the linearized equation of state, which relates variations in pressure, temperature, and density
where \beta_T is the isothermal compressibility.
The left-hand sides of the governing equations represent the conserved quantities: mass; momentum; and energy (actually, entropy). In the frequency domain, multiplication with i\omega corresponds to differentiation with respect to time. The terms on the right-hand sides represent the processes that locally change or modify the respective conserved quantity. In two of the equations, diffusive loss terms are present, due to viscous shear and thermal conduction. Viscous losses are present when there are gradients in the velocity field, while thermal losses are present when there are gradients in the temperature.
Viscous and Thermal Boundary Layers
When sound waves propagate in a fluid bounded by walls, so-called viscous and thermal boundary layers are created at the solid surfaces. At the wall, the no-slip condition applies to the velocity field, \mathbf{u} = 0, and an isothermal condition for the temperature, T = 0. The isothermal condition is a very good approximation, as thermal conduction is typically orders of magnitude higher in solids than fluids. These two conditions give rise to the acoustic boundary layer, which consists of the viscous and thermal boundary layers. The flow transforms from the bulk condition of being nearly lossless and described by isentropic (adiabatic) conditions to the conditions in this layer.
The problem of a time-harmonic wave propagating in the horizontal plane along a wall (this could be waves propagating in a small section of a pipe) is illustrated in the figures below. The left figure shows the velocity amplitude, the right figure shows the fluid's temperature variations from the wall towards the bulk, while the middle figure shows the velocity magnitude as well as an animation indicating the velocity vector over a harmonic period.
Velocity amplitude (left) and fluid temperature (right), from the wall to the bulk, of an acoustic wave propagating in the horizontal plane (bottom). The viscous and thermal boundary layer thicknesses are indicated by the red dotted lines closest to the wall. The upper dotted lines represent 2 \pi times the boundary layer thickness, in each case. The animation indicates the acoustic velocity components, while the color plot shows the velocity amplitude.
The viscous and thermal boundary layers are clearly visible. The thicknesses are sometimes referred to as the viscous and thermal penetration depths. Because gradients are large in the boundary layer, losses are large here too. This means that in systems of relatively small dimensions, the losses associated with the boundary layer become important. In many engineering applications (miniature transducers, mobile devices, and more), including the losses associated with the boundary layer is essential in order to model the correct physical behavior and response.
The viscous characteristic length is shown as a red dotted line in the velocity and temperature plots shown above, together with 2 \pi times the value (known as the viscous/thermal wavelength). The two characteristic lengths are related by the dimensionless Prandtl number, Pr
which gives a measure of the ratio between the viscous losses and the thermal losses in a system. For air, this number is 0.7, while it is around 7.1 for water. In air, the thermal and viscous effects are roughly equal in importance, while for water (and most other fluids), the thermal losses only play a more minor role. The viscous and thermal boundary layer thicknesses exist as predefined variables for use in postprocessing in the Acoustics Module, and they are denoted by
ta.d_visc and
ta.d_therm. The Prandtl number is denoted by
The plane wave problem can be solved analytically and expressions for the viscous (d_\textrm{visc}) and thermal (d_\textrm{therm}) boundary layer thicknesses can be subsequently derived. They are given by
The value of d_\textrm{visc} is 0.22 mm for air and 0.057 mm for water at 100 Hz, 20 °C and 1 atm. The figures below show the viscous and thermal boundary layers over a range of frequencies.
The value of the viscous (d_\textrm{visc}) and thermal (d_\textrm{therm}) boundary layer thicknesses as functions of frequency for air (left) and water (right).
This shows the diminishing effect of viscous and thermal losses at increasing acoustic wave propagation frequencies. Finally, another important effect that is captured when modeling with the Thermoviscous Acoustics interface is the transition from adiabatic to isothermal acoustics at low frequencies in small devices. This effect occurs when the thermal boundary layer stretches over the full device and is important in, for example, condenser microphones, such as the B&K 4133 condenser microphone. At isothermal conditions, the speed of sound changes to the isothermal speed of sound.
Bulk Losses, Attenuation, and Narrow Region Acoustics
It is important to note that viscous and thermal losses also exist in the bulk of the fluid. These are losses that typically occur when acoustic signals propagate over long distances and are attenuated. One example of this is sonar signals. These types of losses are, in air, only dominating at very high frequencies (they can be neglected at audio frequencies). The bulk losses are, of course, also described by the governing equations for thermoviscous acoustics as they include all of the physics. However, modeling large domains with the thermoviscous acoustics equations is very computationally expensive. In the Acoustics Module, you should instead use the Pressure Acoustics interface and select one of the available fluid models: Viscous, Thermally conducting, or Thermally conducting and viscous.
Modeling with the Thermoviscous Acoustics interface can be computationally expensive because of the details needed to capture all physical effects. In cases where the acoustics waves propagate in waveguides or ducts of constant cross section, the thermoviscous losses can be modeled using the Narrow Region Acoustics feature in the Pressure Acoustics, Frequency Domain interface. This domain feature adds the losses associated with the acoustic boundary layers to the fluid in a homogenized way. The losses are derived analytically, thus exact for this case. This feature is very useful to reduce model size or quickly get a first assessment of results before moving onto a full and detailed thermoviscous model.
Material Parameters
Solving a full thermoviscous acoustics model involves defining several material parameters:
- Dynamic viscosity, \mu
- The dynamic viscosity \mu measures the fluid's resistance to shearing in the fluid. It is the constant that relates stress to velocity gradients. The dynamic viscosity is related to the kinematic viscosity \nu by the relation \mu = \rho_0 \: \nu. The symbol for the dynamic viscosity \eta is also sometimes used.
- Bulk viscosity, \mu_\textrm{B}
- The bulk viscosity is also known as the volume viscosity, second viscosity, or expansive viscosity. It is related to losses that appear due to the compression and expansion of the fluid. \mu_\textrm{B} appears in the stress tensor term (right side of equation 3), which has to do with the compressibility (\nabla\cdot\mathbf{u}) of the bulk fluid. This factor is difficult to measure and often depends on the frequency.
- Heat capacity at constant pressure (specific), C_p
- This material parameter measures how much energy is required to change the temperature of the fluid (at constant pressure).
- Coefficient of thermal conduction, \textrm{k}
- The coefficient of proportionality between the temperature gradient and the heat flux in Fourier's heat conduction law.
- Coefficient of thermal expansion (isobaric), \alpha_0
- This is the volumetric thermal expansion of the fluid and expresses the ability of the fluid to expand when its temperature rises.
- Isothermal compressibility, \beta_T
- An important parameter in the equation of the state of the fluid. It relates changes in pressure to changes in volume in the fluid. The isothermal compressibility is related to the usual (isentropic) compressibility through the ratio of specific heats by \beta_T = \gamma \beta_s.
Concluding Thoughts on the Theory of Thermoviscous Acoustics
Now that we have discussed the theory behind thermoviscous acoustics and the associated equations, we can move on to tips and tricks for setting up a thermoviscous acoustics model using COMSOL Multiphysics and the Acoustics Module. We will discuss this, as well as many examples and applications, in the next blog post in this series.
Further Reading and References
- The "Thermoviscous Acoustics Branch" section in the Acoustics Module User's Guide of the COMSOL Documentation
- D. T. Blackstock, "Fundamentals of Physical Acoustics", John Wiley and Sons, 2000
- S. Temkin, "Elements of Acoustics", Acoustical Society of America, 2001
- B. Lautrup, "Physics of Continuous Matter", Second Edition, CRC Press, 2011
- P. M. Morse and K. U. Ingard, "Theoretical Acoustics", Princeton University Press
- A. D. Pierce, "Acoustics: An Introduction to Its Physical Principles and Applications", Acoustical Society of America, 1989
- A. S. Dukhin and P. J. Goetz, "Bulk viscosity and compressibility measurements using acoustic spectroscopy", J. Chem. Phys. 130, 124519 (2009)
Editor's note: This blog post was updated on 7/12/2016 to be consistent with version 5.2a of COMSOL Multiphysics.
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Cops: Man arrested in church burglary
A fingerprint left behind by a church burglar in South Floral Park led to the arrest of the man accused of looting his local house of worship of a donation jar and other items, authorities said.
Adrian Pollard, 49, surrendered shortly after midnight Saturday in connection with the January crime, according to Nassau County police.
Charged with third-degree burglary, a felony, Pollard posted $5,000 through a bail bondsman following his arraignment at District Court in Hempstead, according to court and jail records.
Police say the burglary, at United Methodist Church on Louis Avenue, happened sometime between 2:30 p.m. on Jan. 13 and 6 p.m. on Jan. 14.
The burglar broke a window to get inside and stole the donation jar, stereo speakers and an amplifier, a desktop computer and flat-screen monitor, police said.
Pollard became a wanted man after investigators matched the fingerprint to him, said Nassau police spokeswoman Officer Maureen Roach.
Police didn't say where the print was discovered or how Pollard's prints happened to be on file, but according to court records his rap sheet -- dating to at least 1990 -- shows convictions for mostly petty crimes, including stints in jail for drug and theft crimes, and drunken driving.

subset: commoncrawl


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Welcome back to Straight Up Paleo, where Christina Rice and Kara Halderman answer all of your health questions…straight up.
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2:10 – Christina's birthday recap
10:15 – How to sleep well while traveling with Somnifix!
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14:00 – Netflix recomendation: Peaky Blinders
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23:20 – Christina's week of low sulfur diet
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Royals - 000 400 020 - 6 11 2 Red Sox - 110 021 21x - 8 14 2Pedro Ciriaco has at least two hits in 12 of his 34 starts for the Red Sox this year. On Sunday afternoon, he went 3-for-5, homered, scored two runs, and drove in two runs. His batting average rose to .360.
Dustin Pedroia, Jacoby Ellsbury, Cody Ross, and Mike Aviles each had two hits. Pedroia doubled and homered. Mauro Gomez walked twice and scored twice.
James Loney made his Red Sox debut, playing first base, batting fifth and going 1-for-5, with an RBI. Reliever Pedro Beato, acquired in the Kelly Shoppach trade with the Mets, also made his Boston debut.
Ciriaco, 3B
Ellsbury, CF
Pedroia, 2B
Ross, RF
Loney, 1B
Lavarnway, C
Gomez, DH
Aviles, SS
Podsednik, LF


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IMF Staff papers : Volume 44 No. 4
Show Summary Details
Staff Papers Vol 44 No 4 (Dec. 1997)
- Liberalization and the Behavior of Output During the Transition from Plan to Market
- Equilibrium Exchange Rates in Transition Economies
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FOOTBALL: Triad trips up Tigers
WAYNESFIELD — The Triad Cardinals spoiled the Waynesfield-Goshen Tigers' season opener with a 39-22 win Friday night at Waynesfield-Goshen Tiger stadium.
Big third- and fourth-down plays by the Cardinals hurt the Tigers' chances for victory.
"The biggest thing is coming up with big plays," W-G coach Gary Spencer said. "We may have missed tackles but we need to learn from our mistakes and I think we'll be fine."
Triad's first-year junior quarterback, Colton Young, started out slowly but made adjustments during the game. He ended up 9-for-18 with 139 yards, two touchdowns and two interceptions while on the ground he had seven carries for 55 yards.
The score was close with the Tigers in the lead 8-7 at the end of the first quarter. But the Cardinals came rolling back at the start of the second quarter on a 46-yard touchdown run by Tre NcIntyre with 8:52 left on the clock to take a 14-8 lead.
Jacob Watkins completed a 30-yard field goal to make it 17-8 with only 1:21 left on the clock.
W-G quarterback Garret Miller connected with Evan Humes for a 22-yard touchdown pass to close it to 17-14.
Triad scored with only five seconds left in the second quarter on a 20-yard pass from Young to NcIntyre, giving the Cardinals momentum going into the second half with a lead of 25-14.
Triad came out strong in the second half with a 76-yard punt return by Auson Sandford to take a 32-14 lead with 9:16 left on the clock.
"The team made some adjustments in the game working the running game to open up the passing game," Triad coach Payton Printz said. " We felt like we could set up a running game this season because we have three good running backs, NcIntyre, Ford and Sandford."
The Tigers struggled in the second half with turnovers.
The Tigers fumbled on Triad's 23 yard line, which lead to a one-yard touchdown run by Sanford just 45 seconds later, making the score 39-14 at the 8:31 mark.
W-G finally make a move with 3:30 left on Miller's 11 yard pass to Humes, putting the score at 39-22.
The Tigers hope to get back on track next week as they host the Fort Recovery Indians (1-0) Friday night at 7:00 p.m.


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Westminster College Compliance with the
Family Educational Rights and Privacy Act of 1974
The Family Educational Rights and Privacy Act of 1974 (FERPA) governs the release of educational records maintained by an educational institution and access to the records in order for the student to be afforded certain rights to privacy. This law applies to all elementary, secondary, and postsecondary institutions that receive federal funds under any program administered by the U.S. Department of Education. Westminster College complies fully with the Family Educational Rights and Privacy Act of 1974 as noted in the policy information below:
Notification: Students are notified of their FERPA rights via the Westminster Web Site at www.westminster-mo.edu or by requesting a copy of the policy available in the Registrar"s Office at Westminster College. A summary of the Family Education Rights and Privacy Act can be found at U.S. Department of Education website http://www.ed.gov/policy/gen/guid/fpco/ferpa/index.html or copy is available in the Registrar's Office, Westminster Hall, Westminster College, Fulton, Missouri.
Procedure to Inspect Education Records: Students may inspect and review their education records upon request to the appropriate record custodian. Students should submit to the record custodian or appropriate staff person a written request, which identifies as precisely as possible the record or records he or she wishes to inspect.
The record custodian or appropriate staff person will make the needed arrangement for access as promptly as possible and notify the student of the time and place where the records may be inspected. Access must be given in 45 days or less from the receipt of the request. Once students have requested access to their education records, such students' records cannot be destroyed until inspection and review have been provided. When a record contains information about more than one student, the student may inspect and review only the records which relate to him or her.
Right to Refuse Access: Westminster College reserves the right to refuse to permit a student to inspect the following records: (1) The financial statement of the student's parents; (2) Letters and statements of recommendation for which the student has waived his or her right of access, or which were placed in file before January 1, 1975; (3) Records which are excluded from the FERPA definition of education records.
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Grade Reporting: Westminster faculty report midterm and final grades for all enrolled students to the Registrar's Office. Westminster College does not mail grade reports. By entering their confidential I.D. and PIN number, students may access their midterm and final grades through the campus computer network. A printable version of the grade report is also available to students on the Campus WEB for hard copy access. Letters regarding academic ineligibility and academic probation will be sent to the student at their legal, home, permanent address.
Definitions: At Westminster the phrase "other school officials" refers to any person a) employed by the College in an administrative, supervisory, academic or research, or support staff position (including law enforcement unit personnel and health staff); b) company with whom the College has contracted, e.g. attorney, auditor, collections; c) a person serving on the Board of Trustees; or d) a student serving on an official committee, such as disciplinary or grievance committee, or assisting another school official in performing his or her tasks.
A school official has a legitimate educational interest if the official is: (a) maintaining, monitoring, or evaluating the record-keeping system itself; (b) implementation, monitoring, or evaluating the academic curriculum; (c) counseling, advising, or otherwise assisting a particular student; or (d) evaluating particular students with respect to financial or academic awards, honors, or achievements.
A student is defined as any person who attends or has attended Westminster College. An educational record is any record (in handwriting, print, tapes, film, or other medium) maintained by Westminster College or an agent of Westminster College, which is directly related to a student.
Directory Information: Certain information pertaining to students is defined as "directory information," which is information that may be freely made public and that is normally published in such things as student directories, yearbooks, school announcements, etc. Westminster College may disclose any of the following items without prior written consent unless written notification is received from the student.
Westminster directory information includes: a student's name, address, fraternity affiliation, telephone number, E-mail address, date and place of birth, parents' names and address(es), major field of study, minor field of study, academic advisor, picture, class, participation in officially recognized activities and sports, weight and height of members of athletic teams, dates of attendance at Westminster College, full-time or part-time enrollment status, honors, degrees and awards received, the most recent previous educational institution attended, and high school attended. A student has the right to object to the publication of this information and may do so by presenting his objection in writing to the Registrar before the end of the first fifteen days of classes.


text: Hallberg-Rassy on Sat 1 There has been a report in German TV, Sat 1, about Hallberg-Rassy at the Hanseboot Ancora Boat Show :http://www.hamburg.sat1regional.de/aktuell-hh/a... Read more 01 June 2015 Hallberg-Rassy 64 nominated to German Design Award The Hallberg-Rassy 64 has been nominated to the German Design Award 2016 for excellent product design by the German Design Council. Read more 13 May 2015 How fast can a Hallberg-Rassy be? That the new generation Hallberg-Rassys are fast is no news. But just how fast can they be? A Hallberg-Rassy 64 just achieved increadible 20.8 knots... Read more 15 April 2015 The next step of push button sailing Hallberg-Rassy has now invented the next step of push button sailing: The push button controlled fenders. It is now as easy taking the fenders in and... Read more 01 April 2015 Invitation for The Hallberg-Rassy Rally where everybody wins 12-13 June 2015 For an invitation to the Hallberg-Rassy Rally where everybody wins, 12-13 June 2015, in Ellös, please follow this link Read more 31 March 2015 Hallberg-Rassy 43 Mk III Cruiser of the Year The Hallberg-Rassy 43 Mk III has won the honourable award Cruiser of the Year in the respected sailing magazine "Search Magazine" from Sweden. Boats... Read more 27 February 2015 Excellent opportunity to order a new Hallberg-Rassy The Swedish central bank has today for the first time in history lowered the official bank interest rate to -0.1 %. It is the first time in history we... Read more 12 February 2015 Hallberg-Rassy dream yacht for 17th consecutive year Europe's largest sailing magazine, Yacht from Germany, has for 17 consecutive years made an extensive market research. 3 535 readers answered detailed... Read more 22 January 2015 Hallberg-Rassy on national Swedish TV See a report about Hallberg-Rassy on national Swedish TV4 from 13 January, you can watch it online here: http://www.tv4play.se/program/ekonomi?vide... Read more 13 January 2015 New model: Hallberg-Rassy 40 Mk II A new model has been presented: The Hallberg-Rassy 40 Mk II Read more 12 January 2015 Page 3 of 4. Previous 1 2 3 4 Next


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On "The Daily Show," comedian Jon Stewart delivers the not-so-fake news at 11 p.m., followed a half-hour later by his "Comedy Central" compatriot Stephen Colbert, who plays a Bill O'Reilly-like conservative commentator for laughs on "The Colbert Report."
But this past Thursday night, Stewart tried his hand at imitation – mimicking Glenn Beck, blackboard and all, following the right-wing broadcaster's recent comments calling "social justice" and "economic justice" code words for Nazism and Communism. Beck, on his radio show earlier this month, urged congregants in churches preaching social and economic justice to "run as fast as you can."
In an extraordinary 13-plus-minute performance, Stewart employed images ranging from the Swastika to the Hammer and Sickle to Jesus to a certain denizen of Sesame Street, while spouting a flood of conspiracy theories that flowed along with Beck-like crocodile tears.
The out-of-character bit, complete with manic chalk circling and pandering illogical leaps along the spectrum of history and politics, proved alternately hilarious and chilling – probably because it wasn't so far off from an actual Beck rant on the evils of progressivism.
"I'm sorry – I promised myself I would cry," said Stewart in his Beck guise, glasses in hand and arms waving.
So did Stewart give Beck a lesson – or was he just teaching to the converted?
It's hard to know how the edgy segment played to different audiences. Maybe Stewart's performance will gain Beck some sympathy from the right, at a time when the Fox host's church-fleeing talk might have harmed him with some Christian supporters. Maybe Stewart did a service by exposing Beck's ongoing absurdity to a potentially wider audience by devoting half his show to the imitation – a move that's gained Thursday night's show far more notice online and in the press than an average "Daily Show" installment.
But possible breadth of reactions shouldn't be Stewart's main concern. His job as a media and political satirist is to make us think by making us laugh. Stewart's primary weapon is words – and he's most compelled to react when the language is being twisted.
It's hard to not hear echoes of "1984" when Beck likens social and economic justice to Nazism and Communism, and calls the teaching of the importance of helping the poor "a perversion of the Gospel."
Beck and his conservative brethren know very well from code words. During the 1988 presidential race, George H.W. Bush noted Michael Dukakis was a "card carrying member of the ACLU," with the same derision Joseph McCarthy saved for communists. Twenty years later, Sarah Palin mocked Barack Obama's past as a "community organizer" as if that job title were somehow nefarious (news flash for Tea Baggers: Samuel Adams was a "community organizer").
Beck's latest ludicrous episode makes O'Reilly – known as Papa Bear to Colbert – look like a pussycat. And on Thursday night, it was Colbert's O'Reilly-like character who proved the subtler member of the "Comedy Central" news tag team.
Colbert offered his own, more nuanced take-down of Beck for what the comedian, who is Catholic, clearly saw as a direct attack on his religion's teachings about social justice.
Colbert's character suggested that Beck, who name has been floated for high office, could be the next Pope, adding, "He certainly seems comfortable with telling Catholics what to do."
Check out Stewart and Colbert's different approaches to battling Beck with humor below:
|The Colbert Report
|Mon - Thurs 11:30pm / 10:30c
|Glenn Beck Attacks Social Justice - James Martin
|Colbert Report Full Episodes
|Political Humor
|Health Care reform
|Colbert Report Full Episodes
|Political Humor
|Health Care reform
Hester is founding director of the award-winning, multi-media NYCity News Service at the City University of New York Graduate School of Journalism. He is the former City Editor of the New York Daily News, where he started as a reporter in 1992. Follow him on Twitter.


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Advice of the Day: Pat Robertson Warns Moms of Covens, Curses If Posting Ultrasound to Facebook
It's one thing to get a little annoyed at anyone posting too many baby pictures on Facebook, and then there's this.
'700 Club' host Pat Robertson was answering some viewer mail on Monday, and he got one from a woman who wanted to know if it was safe for her daughter to post a picture of her unborn child online.
She wanted to know if this would have any harm, spiritually.
And then Roberston went all "American Horror Story" on us.
"There are demons and there are evil people in the world," he said. "And you post a picture like that, and some cultist gets a hold of it or a coven and they begin muttering curses against an unborn child."
As a reminder, this is the same man who thinks gays with AIDS wear rings to purposely cut and infect people, joked that man should move to Saudi Arabia to beat his wife and called the 2010 earthquake in Haiti a "blessing in disguise."


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Ubuntu MATE is a stable, easy-to-use operating system with a configurable desktop environment. Ideal for those who want the most out of their desktops, laptops and netbooks and prefer a traditional desktop metaphor. With modest hardware requirements it is suitable for modern workstations and older hardware alike.
Ubuntu MATE has a number of guiding objectives and goals.
Hardware requirements


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Majlinda Bashllari, Amanda Earl, Patricia Keeny, Jennifer LoveGrove, Nicholas Power and Dane Swan are six of the 20 participating poets competing in the Poetry NOW: Battle of the Bards. IFOA asked them about writing poetry and where they find their inspiration.
Want to hear them read live on March 29th? Event info, here!
IFOA: What do you look for when reading poetry?
Majlinda Bashllari: New territories, striking images, brave figures of speech. Poetry is the highest form of human knowledge and the first exploratory tool of new realities. Through imagination and intuition, it enters in the darkest and most unknown macro and micro zones of the universe and opens up the ways for other forms of knowledge such as the philosophy, the exact sciences and technology to thrive and succeed.
Amanda Earl: I try not to look for anything. My mind's open. Most recently I've been reading Lisa Robertson's "3 Summers" and "Cinema of the Present." I enjoy the intensity and sensuality of her imagery, the humour and play in her writing, the way she poses questions rather than answers them. In general I like poetry that is whimsical, imperfect, awkward and humble, connects with me in some way, and leads to more exploration.
Patricia Keeney: To go where I haven't been.
Jennifer LoveGrove: I value the unexpected, whether that's in the language, the imagery, or conceptual concerns, I look for inventive ways these elements have been engaged and structured in a poem. I like to be surprised, unsettled, destabilized by poetry.
Nicholas Power: I look for play in the form and tension in the line. I like to read poetry that somehow goes beyond the limits of the one writing it. I also enjoy the poet's particular leaps, their sense of rhythm, and their understanding of poetic tradition without conformity. I look for poetry that isn't simply about something, poetry that is something.
Dane Swan: Soul. When reading poetry I look for soul. If a poem has life, or is dirty, grimy and honest it will usually pique my interest. I'm not particularly interested in antiseptic writing that even an immature child can imitate. Poetry needs to have an energy that pulls the reader along. If the poem is dense, or is technically a lot to take in, as well as soulful, even better. Poetry is best when you're driven to read it more than once.
IFOA: What do you love most about writing poetry?
Majlinda Bashllari: The hope that you can bring to life some good lines. When poetry is good, it turns into something bigger than the culture it springs from. Writing poetry is a challenge. Each time you sit and start a new poem, you realize that previous experiences mean very little or nothing at all. The fear of being repetitive, shallow, outdated is part of the process. You might become a master of the structure and lexicon, but could easily fail to give the right message. Timing is also another challenge even though we are taught to believe that poetry is timeless.
Amanda Earl: I like that I'm not beholden to convention. There are so many styles of poetry and no one style is the right one. This leaves the genre open to the possibilities of being broken (open).
Patricia Keeney: Going where I haven't been.
Jennifer LoveGrove: Editing. I love best that stage of making a poem come together, when it finally begins to coalesce after a series of relentless tweaks and alterations – changing a word, a line break, a comma, deleting, rearranging, expanding, paring- until intuitively I know I've got it.
Nicholas Power: The surprises.
Dane Swan: I'm not sure love is the right word. Mind you, I'm not sure I even understand the word love. I'm simply personally driven to write. Whether people consider me a writer, or not, I'll continue to write in some way, shape or form.
IFOA: If you could only read one poet's work for the rest of your life who would it be?
Majlinda Bashllari: The Polish poet, Wislawa Szymborska. One of the finest poets of all times. Her poetry embraces the wisdom of old and new times; she can see through the core of human nature. It's a unique school for everyone who aspires to write about almost anything.
Amanda Earl: Anne Carson. She always surprises. (But I'd like to mention Lisa Robertson again, also Mary Ruefle, Adrienne Rich, Sylvia Plath, Gwendolyn MacEwen, Anne Sexton.)
Patricia Keeney: Ted Hughes
Jennifer LoveGrove: Right now, it would be Kim Hyesoon. Her work contains much of what I prioritize: strange, disturbing neo-surrealist imagery and logic, feminism, the grotesque, emotional confrontation. Her poems surprise, amaze and excite me.
Nicholas Power: Jack Gilbert (The Great Fires, The Dance Most of All, Refusing Heaven)
Dane Swan: Probably Langston Hughes
IFOA: What inspires you?
Majlinda Bashllari: Human resilience. The ability to start fresh. Also Greek and Roman mythology has been a great source of inspiration for me.
Amanda Earl: A good kiss, the forbidden, new lovers, my husband's Sunday crepes, meandering conversations with dear friends over a pot of strong tea, solitary walks downtown early mornings in the cold spring air, drinking a peaty whiskey and listening to Nine Inch Nails while soaking in the tub, Agnès Varda's film, "Les glaneurs et la glaneuse (the Gleaners and I), Hélène Cixous' "firstdays of the year," Djuna Barnes, "Nightwood," the music of Tom Waits, gin, the stark bone white of Georgia O'Keefe's desert paintings, the glass flowers at the Harvard Museum of Natural History, dark eyes in the paintings of Leonora Carrington, the green of Max Ernst's paintings, tangled gardens, broken glass, candour and integrity, quirky lingo, tall, handsome men, wearing red, saying no, saying yes.
Patricia Keeney: Life.
Jennifer LoveGrove: Other poets' work. And life, especially the bad parts.
Nicholas Power: What inspires me as a writer are (to use Gerard Manley Hopkins list) All things counter, original, spare strange; found phrases and objects, quantum physics, paradoxes, particularities of gesture, tone and humour, literary non-fiction and science writing, poets and writers who have stayed with the struggle to advance the art form over time.
Dane Swan: What doesn't inspire me? I'm inspired by everyone and everything I meet. The skill is in culling my inspirations; understanding which are worthy of sharing, and when to share each inspiration.
IFOA: What is one thing you have learned about yourself from writing your most recent collection?
Majlinda Bashllari: I am hard to please. (j/k!)
Amanda Earl: I learned that I love to do research, especially concerning the 20s and 30s. For "Kiki," which is inspired and informed by artists and unbridled creative and licentious acts that took place in Montparnasse between the Wars, I read a lot of books and saw silent films, listened to music and watched a few documentaries about the era. I am still fascinated with that time period and continue to learn as much as I can about the personalities of that time and the work they produced.
Patricia Keeney: That the imaginative adventure never stops.
Jennifer LoveGrove: That the more I record and note my dreams, the more and better I remember them.
Nicholas Power: I feel that my work as a writer, especially in the form of poetry, where I freely associate through a wide range of source materials, has helped my receptivity in general. I also feel that this solitary work has helped me learn to sit with uncertainty, with imperfection and incompleteness.I'm also seeing how much I like to edit, in a positive way but also to rewrite, mess with, deviate from given texts.
Dane Swan: I'm not sure that I learned anything from A Mingus Lullaby. There's a fair amount of research behind the collection, but I was more confirming what I already knew about Mingus. Technically, I merely put to practice concepts that I learned in the editing stages of Bending the Continuum with Elana Wolfe. I certainly didn't come out of the experience writing this book as if it was spiritual — it's a book. It's a really good book. But, it's just a book. Part of being a writer is becoming a good observer of others. The best way to hone that skill, is to initially observe yourself. A writer shouldn't be suddenly surprised about themselves during the writing process. That's a romanticized idea of how writing works. I'm constantly learning.


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December 9: Met with Blake this evening for the first time. He stood in the shadows to prevent me from getting a clear look at his face. What a vile disease this is. He is a rich man with a cursed condition, but this does not prevent him from trying to better his situation and that of his comrades at the colony.
December 11: Blake's proposition is simple, He wants to move off Tanzier Island and re-locate the entire colony just north of here. He has purchased a clipper ship called the Elizabeth Dane with part of his fortune and asks only for permission to settle here. I must balance my feelings of mercy and compassion for this poor man, with my revulsion at the thought of a leper colony only a mile distant.
April 20: The six of us met tonight. From midnight until one o'clock, we planned the death of Blake and his comrades. I tell myself that Blake's gold will allow the church to be built, and our small settlement to become a township, but it does not soothe the horror that I feel being an accomplice to murder.


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Date(s) - 01/13/2016
9:30 am - 5:30 pm
Course Location
Course Categories
Keymodule 1 and Keymodule 2 ENDERMOTHERAPIE™ AND ENDERMOSPORT™ COURSE—1 day
This advanced Therapeutic course is recommended for the following licensed healthcare professionals only. It is the practitioner's responsibility to abide by state and local regulations regarding the administration of endermologie®® treatments.
- Medical Doctors • Physical Therapy Assistants
- Chiropractors • Occupational Therapists
- Osteopathic Physicians • Certified Occupational Therapy Assistants
- Registered Nurses • Certified Athletic Trainers
- Physical Therapists • Certified and Licensed Massage Therapists
This is an intensive course designed to improve the recovery time of your clients and increase profit.
Endermotherapie™ applications include protocols for:
- Edema • Pre- and Post-Surgical protocols
- Venous insufficiency • Lymphedema
- Scars • Fibrotic tissue
- Burns • Pain management
- Muscle pain and stiffness
- Injuries/inflammation of muscles and tendons
Endermosport™ protocols include:
- Performance
- Recovery
- Injury management of sports for men and women.
–This course may be added onto an Essential Level Course on qualified machine models. Proof of qualifying licensure must be submitted in order to register and participate in this course.
-If you would like to attend this course, single individuals can attend for $480.00. Additional people from the same company attending on the same day can attend for $312.00
Course Bookings
Bookings are closed for this Course.


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Also found in: Dictionary, Thesaurus, Legal.
A third party to a loan who provides a guarantee that a loan will be repaid. The guarantee by the cosigner reduces the risk that the lender will lose the money he/she has distributed to the borrower. The cosigner signs an agreement with the lender stating that if the borrower fails to repay the loan, the cosigner will assume legal liability for it. A cosigner may be an institution, but is often a relative or friend of the borrower, especially for personal loans. Persons with little or poor credit history sometimes cannot receive a loan without a cosigner. See also: Surety.
A person who signs a promissory note in such a capacity that he or she has equal and primary liability with another. Contrast with a guarantor, who is liable only if the original obligor defaults. A cosigner must list the promissory note as a liability on financial statements; a guarantor has only contingent liability which may never ripen into full liability.


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Before cured foods are smoked, they should be allowed to air-dry long enough to form a tacky skin, known as a pellicle. The pellicle plays a key role in producing excellent smoked items. It acts as a kind of protective barrier for the food, and also plays an important role in capturing the smoke's flavour and colour.
Most foods can be properly dried by placing them on racks, by hanging them on hooks or sticks. It is important that air be able to flow around all sides. They should be air-dried uncovered, in the refrigerator or a cool room. To encourage pellicle formation, you can place the foods so that a fan blows air over them. The exterior of the item must be sufficiently dry if the smoke is to adhere.
We recommend that you place damp or wet food on a "dish" made of aluminium foil to prevent any moisture from the food dripping onto the flavouring and preventing them from smoking.
Make sure you apply a thin coating of oil to the foil in order to prevent adhesion.
Photos of Smoked Duck Breast from Dan J.
Place the shallow smoke tray into the bottom of the spun iron casserole bowl.
Add your smoke flavourings on to the smoker tray.
We supply you with a starter pack of locally sourced, untreated oak chips.
As a guide we would suggest you start with two tablespoons of oak chips.
Sit the smoker dish on top of the tray and put the spun iron lid on the casserole bowl.
Place the casserole dish on the hob or on your Kitchen Companion Heater Base and turn the heat to HIGH/MAX.
Leave for 20 minutes for the chips to combust and create smoke.
Have your food ready. After 20 minutes of heating, carefully place the food into the smoker dish and replace the casserole lid.
Continue to cook for at least 25 minutes to develop the smoke flavour and cook your food.
Beef, lamb and duck may be served pink, but you must ensure that all pork and chicken products are thoroughly cooked. Try experimenting with different smoking ingredients such as tea, rice, spices and citrus zest. We like wood chips from fruit trees such as apple & pear, these are available on-line.
Look out for new ideas & recipes on the website www.netherton-foundry.co.uk & our blog www.netherton-foundry.blogspot.com
Here are a few suggestions for your first smoking experiences with your Netherton Foundry product.
Please remember when creating your own recipes that depending on the ingredients used, cooking times may vary.
Bacon, sausages, duck breast, chicken, whole garlic bulbs, aubergines, mushrooms, cheese.
Menu ideas:
Smoked chicken with a carrot and cardamom puree
Bacon chops on Spring greens
Chicken breast with beetroot salad
Pork and beef smoked meatballs with a harsissa based sauce
Smoked aubergine dip
Pork tenderloin stroganoff
using materials predominantly sourced in our own and neighbouring counties. Copyright 2020.


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The water for the mill race was fed by Broad Run, which flows by immediately to the north. Also included in the district is an early 19th-century tavern and a small mid-19th-century church. These buildings, in addition to several residential dwellings, sustain the village's historic character.
The Buckland Historic District is centered at the intersectin of Buckland Mill Rd. and Rte. 29, in Buckland.


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Tuesday, May 20, 2008
Conference USA: Is Bigger Better?
Thus far, there has been little support for the idea. Holland, in an email to Jack Bogaczky of the Charleston Daily Mail, said "that if you can't go back to eight or nine teams for the conference, then move ahead to eight- or nine-team divisions. Twelve is simply the wrong number in my opinion."
What teams might be targeted in an expansion? Bogaczky speculates that Western Kentucky, Middle Tennessee State and South Alabama, about to start its program with a major college goal of 2013, could be in the mix.
3 comments:
Brilliant idea. Two 9 team divisions so you never have to worry about scheduling, you can easily have a championship game in football, and imagine how big the basketball tournament would be each season with 14 - 18 schools attending.
Traveling to each of the 9 teams becomes really easy which in turns gives everyone an opportunity to see their teams MORE each season.
Do it.
- greg6363 said...
Let's see now. You're a fading, mid-major conference that generates little TV money and your marquee programs have defected to the BCS. Your solution is to expand by adding schools with little name value and small fan bases. I'm sure the current members would be extremely happy sharing what little revenue remains from a ever shrinking financial pie.
Ok Greg, so what's the solution?
The goal would be to put together the best REGIONAL conference possible. By locking in 18 schools you never have to worry about scheduling, you can build rivalries, and "control" expenses.
Plus, since you mentioned TV money doesn't it make sense for a Fox Sports to pick up a conference that plays regionally? I would think Fox Sports South would love a conference that has 18 teams coming from their core broadcast area of West Virginia, North Carolina, Florida, Alabama, Kentucky, Tennessee, Mississippi, Louisiana, Oklahoma and Texas.
Plus when you mention "marquee programs" don't you really mean just Louisville? South Florida hasn't done much until the past 2 seasons, and Cincinnati is a joke. Please don't mention Depaul or Marquette either.


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Cheese Sticks for Oscar Night
This post may contain affiliate links. Please read my disclosure policy.
When it comes to hors d'ouevres, I never know what to make. Fortunately, I have friends that do. Oscar night is fixin' to be a good one thanks to these cheese sticks brought to my attention by my friend Darcy. Oh my. Spicy, salty, crispy — these cheesy cocktail straws are addictive and will never not appear at a party I host from here on out. They take just minutes to whip up. They look beautiful. And they couldn't be more party friendly — who doesn't like butter, cheese, salt and a little spice?
I'm looking forward to Oscar night already. Well, that's only partially true. I actually haven't seen a single movie being nominated. I don't know what happened this year. Part of the trouble is, in recent months at least, that I've been totally distracted by Foyle's War — haven't been able to watch a single other show since beginning the series. Disc one of the final season is sitting on my kitchen table, too. Hmmm. It seems the only certainty for Sunday evening is cheese straws. I can live with that.
Cheese Sticks
- Prep Time: 10 minutes
- Cook Time: 15 minutes
- Total Time: 25 minutes
- Yield: 4 servings
The Lee Bros. Southern Cookbook via The Garden of Eden via Smitten Kitchen
- 1 1/2 cups (about 6 ounces) grated extra-sharp Cheddar cheese (I love the Cabot Extra Sharp)
- 4 tablespoons unsalted butter, softened and cut into 4 pieces
- 3/4 cup flour, plus more for dusting
- 1/2 teaspoon kosher salt
- 1/2 teaspoon crushed red pepper flakes
- 1 tablespoon half and half or milk or heavy cream
- Preheat oven to 350°F.
- In a food processor, combine the cheese, butter, flour, salt and red pepper flakes. Pulse until the mixture resembles coarse crumbs. Add the half and half and process until the dough forms a ball, about 10 seconds.
- On a lightly floured surface, using a lightly floured rolling pin, roll the dough into an 8- by 10-inch rectangle that is 1/8-inch thick. With a sharp knife, cut the dough into thin 8-inch strips, each 1/4- to 1/3-inch wide. (Note: It might be helpful to dip your knife in flour after every few cuts to ensure a clean cut — I did not have to, but Deb of Smitten Kitchen recommends doing so.). Gently transfer the strips to a parchment-lined cookie sheet, leaving at least 1/4-inch between them.
- Bake the straws on the middle rack for 12 to 15 minutes, or until the ends are barely browned. Remove from the oven and set the cookie sheet on a rack to cool.
- Serve at room temperature. Cheese straws will keep in the refrigerator, in a sealed container, for two days, but they taste best when freshly baked and served shortly thereafter.
This post may contain affiliate links. Please read my disclosure policy.


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1970 Lake Blvd Ste 1
Davis, CA 95616
E: email@example.com
Hours • Mon-Fri 10- 7 • Sat 10- 6 • Sun 12-5
Amps & Electronic Repair
Dr. Rock Amp Repair
Professional • Audio Video • Field and Bench Services
Larry Bernstein - (916) 457-7625
From single symptom repairs to major rebuilds and restorations, Dr. Rock is your one stop shop for all your amplifier maintenance. Over twenty years experience in Sacramento handling warranty and non warranty repairs for all the major brands. Tube amps a specialty. Servicing all commercial guitar, bass and power amps, mixers and speaker systems. We don't work on home stereo gear or car audio.
Field service available on PA, paging, and dance floor systems. All repairs restore equipment to original factory specs or better, using original factory parts when possible. Most repairs cost approximately two hours labor, plus parts. Of course, simple jobs take less time. If I get into your job, and find expensive broken parts, or that labor will be high, I will let you know and make sure you want it fixed. Please leave a good daytime phone number so I can contact you during business hours. Shop minimum is one hour, which is also the charge if a repair is refused.
Normal turn around time is 5 to 10 business days. Rush service available at 50% premium over normal rates. You've used the rest, now hire the best, Dr. Rock.
Tube Talk with Dr. Rock
I am constantly asked what I charge to re-tube and bias an amp. This question raises many more because it means that whatever is going on with that person's amplifier, they have reached the conclusion that the tubes are the problem, that changing them will fix it, and they want to do that at the lowest possible price.
I am all for doing stuff at the lowest possible price, which is why I shake my head every time I get an amp in for repair after the owner has spend $200 on a full set of new tubes and still has the original problem. I guess it's human nature to feel more comfortable buying a part than paying for labor, but throwing a full set of tubes at an amp in the hopes it will fix a problem is not your lowest cost option for repair.
Fact: The large format output tubes, 6L6's, EL34's and the like, have a designed life span of 10,000 hours (do the math for your usage. At 10 hours a week, that's 19 years). At the end of that time, the tubes aren't dead, but output has degraded to 70.7% of the designed level.
Preamp tubes do not push speakers and move air, and can last even longer.
That said, all tubes can be mechanically damaged from being bounced around in transit, or exhibit manufacturing sample defects. Preamp tubes can develop static or microphonics (ringing). Power tubes can develop internal shorts and glow red or blow fuses.
At Dr. Rock, we will only replace defective tubes because you won't hear any difference if we replace a good working tube with a new one. We don't carry cheap tubes, either. We only sell the best tubes available, selected for low noise, matched for output and backed by Ruby Tube's full 6 month warranty when installed by us.
Fretted Instrument Repair
Harrison Phipps Repair
We are pleased to announce that local luthier Harrison Phipps (aka Fretted Strings) is now doing the bulk of the fretted instrument repair work for Watermelon Music. The quality of Harrison's work is top notch, turnaround times are quicker than we've ever had before, and prices are right in line with what you've come to expect from our repair department.
Fretted Strings offers full service repairs for all fretted instruments. California shop. A specialty is setting action on acoustic and electric guitars to optimize tone, ease of playing, and correct intonation. You can learn more at Harrison's website: www.frettedstrings.com
Harrison joins Dr. Rock (amplifier and electronic repair), Devin Hough (orchestra instrument and bow repair), and Brett Brinkley (woodwind and brass repair) at Watermelon Music. The circle is now complete!
More About Harrison Phipps
Harrison Phipps built his first guitar in 1978 while apprenticing with the renowned guitar builder Arthur Overholtzer in Chico California. Mr. Overholtzer is famous not only for his guitars, but for his numerous guitar making tools. He built and sold – electric heated side benders, router bases for binding and rosette slots and fingerboard fret cutting miter boxes.
Mr. Overholtzer authored the book "Classic Guitar Making" which was published in 1974. The 323 page book contains written descriptions and 302 figures of his tools and techniques for making a classic guitar. One of his Brazilian Rosewood classical guitars (#13) won "Grand Champion" at the 1969 Competition of the International Violin and Guitar Makers' Association. Charlie Robinson, Chico's preeminent jazz guitarist played "In the Garden", "Rock of Ages", and "Amazing Grace" on #13 at Art's funeral in 1982.
In Mr. Overholtzer's shop Harrison learned from a master guitar builder the skills necessary to select premium woods, make superior gluing surfaces, optimize tonal properties of guitar woods during preparation and assembly, proper sharpening techniques and use of hand tools and a reverence for life, wood, and guitar building.
Richmond Talbott did fretted instrument repair in a local Chico music store. It was here in the late 1970's that Harrison met Richmond and learned the skills and techniques of fretted instrument repair. While learning repair techniques from Richmond, Harrison met Lynn Sparks, another local instrument builder with a strong passion for searching out and collecting instrument grade wood. Lynn and Harrison spent many days and weeks in the late 1970's stockpiling spruce, mahogany, ebony and rosewood for later use.
Violin, Viola, Cello Repair
Devin Hough Repair
Call for enquiries: (530) 750-1132
As most people are just wrapping up their day, Devin Hough is settling into his Davis, California, shop to focus on his next Baroque instrument creation. Stay-at-home dad by day and luthier by night, Hough began studying violin making and repair more than 25 years ago with his grandfather. The twosome worked on several projects together, and Hough found himself drawn to period instruments, their sound and design. He now duplicates old designs for instrumentalists looking to replicate the Baroque sound, but unable to afford antique instruments.
Hough focuses on subtle and elegant design work, be it ornate carving or just deftly applied glue and varnish. Violas, Baroque violins, violas d'amore, vielles, and viols are just a few of the instruments found in Hough's studio shop.
Devin also does repairs, both great and small, from bow rehairs and peg fittings to cleating cracks and splits. Turnaround times vary depending on the job and the time of year, but are typically 1-2 weeks.
More About Devin Hough
I began my training as a violin maker in 1970 at age 12 with my grandfather, Paul Schaupp, and worked summers with him in Inglewood, California for seven years.
In 1980, I moved to Davis and started working for Albert C. Muller in Sacramento in 1985. In his shop I refined my violin making skills and learned to do stringed instrument repair and restoration, working with him until 1991.
Currently I work repairing all forms of bowed string instruments and make violins, with a speciality in recreating instruments from the baroque, renaissance and medieval periods.
Band Instrument Repair
Band Instrument Repair
Brett Brinkley
Brett Brinkley has been involved with music for over 35 years, starting with piano lessons in Elementary school, then playing trumpet in Jr. High and High Schools. After graduating from Red Bluff Union High School, he attended Shasta College in Redding, receiving his A.A. Degree in General Education, then transferred to California State University, Chico where he received his B.A. Degree in Music Education and a California Teaching Credential. Mr. Brinkley has taught music at Tule Lake Elementary and High Schools, Live Oak Middle School in Tulare, Summer Music Camp in Lassen, Red Bluff High School and Shasta College. He has also served 2 years as conductor for the Tehama County Band, which has been in continuous existence since 1895.
Brett has performed with a variety of musical groups including: the Shasta Symphony, the Chico Symphony, the CSUC President's Brass Quintet, the Rich Little Christmas Tour, the ARC Wind Ensemble Hawaiian Tour, the Sierra Nevada Winds Pacific Northwest Tour, Davis Musical Theater, Consumnes River College Theater, and the Auburn Music and More Theater Co.
Mr. Brinkley studied instrument repair during his tenure at both Shasta College and CSU Chico, then apprenticed for two years with Tom Dodson, (NAMM University Master Repair Technician), at the Brass Reed in Redding. He has been an instrument repair technician for Gottschalk Music Center in Sacramento and Stockton since 1992 and joined the Watermelon Music repair staff in 2008. Mr. Brinkley currently resides in Sacramento.