text:
Robert Deutsch
Solid-state stereo power amplifier. Power output: 300W into 8 ohms (24.8dBW), 600W into 4 ohms (24.8dBW), 1200W into 2 ohms (24 8dBW}. frequency response: 20Hz-20kHz +/-O.5dB. Full power bandwidth: 10Hz-20kHz. Chanel separtion: > 60dB at 1kHz. Damping factor >200, equivalent to an output impeince of less than 0.04 ohms. THD: <0> 50V/us. Output impedance: <0.04 ohms. Input sensitiviy: low gain, 1.74V RMS; high gain, 430mV RMS. Input impedance: 50k ohms. Power consumption per side: 60W at idle, 250W with musical program, 1440W nominal continuous. Dimensions: 19" W by 6.9" H by 17.8" D with handles. Weight 72 lbs (net). Warranty: 5 years, parts and labor. Serial number of unit reviewed: 947202005. Price: $3995. Approximate number of dealers: 25. Manufacturer Carver Corporation, 20121 48th Aw. W., Lynnwood, WA 913036 Tel: (206) 77S-6245. Fax: (206) 775-9180. When it comes to amplifiers, ya gotcher tubes, yer solid-states, and yer hybrids. Although amplifier manufacturers would have you believe otherwise, the majority of designs within each category are variations on a few fairly-well-known themes. Everyone agrees that the power supply is extremely important. Most designers try to obtain the amplifier's desired frequency response and distortion characteristics with a minimum of negative feedback. It's also agreed&emdash;at least among designers of solid-state amps&emdash;that the ability to drive a variety of speakers, including those that present a low-impedance and/or reactive load, is an important priority.
In the spirit of high-fidelity, the amplifier's output should bear a close resemblance to the input signal ("straight wire with gain"), and to whatever extent the output is different from the input, the difference should be in a musically pleasing direction. Once priorities are set&emdash; and decisions have been made about such practical matters as cost, weight, size, heat dissipation, power consumption, etc.&emdash;designing an amplifier is often little more than applying tried-and-true principles and techniques. With careful attention paid to such factors as parts selection, circuit layout, and vibration control, such amplifiers can sound quite good; but to the audiophile who wants something different, they're a bit, well, boring. As Miss Peggy Lee put it, "Is That All There Is?"
I first found out about the Carver Research Lightstar Reference amplifier while reading Peter W. Mitchell's 1994 ACES Report (Vol.17 No.4). Judging by Peter's description, the Lightstar was not your standard could-have- been-designed-by-a-computer amplifier. "A remarkably clever, innovative, and cost-effective design that promises to deliver huge power levels to any load ' quoth Mr. M. At Stereophile's Hi-Fi '94 High-End Show in Miami last April. I had a chance to listen to a system featuring the Lightstar, and 1, too, came away impressed with its potential. I was keen to check out how it would perform in my own system.
To those familiar with the built-to-a-price offerings from the Carver Corporation, examining the Lightstar will be a surprise. It's heavy, and very well-finished&emdash;almost to a Krell/Mark Levinson standard. The 3/8"'-thick black- anodized aluminum chassis, which also functions as a heatsink, has a "wraparound" design, with no visible screws or bolts on the top or sides. The Lightstar's front panel is dominated by two illuminated power meters; at night, it looks as if you're being stared at by some sort of robot or monster with bright slits for eyes2 Whether you consider this the pinnacle of high-tech or simply gimmicky will be a matter of individual taste, but it certainly looks striking. Personally, I would have liked to have been able to turn off the power meters&emdash;or at least the lights&emdash;while listening late at night.
The Lightstar is described as dual-mono. To this end, it has two power cords and two power switches in the back. In normal use, these switches are left in the on position, and the amplifier is controlled by a single front- panel touchplate switch, which toggles from Standby to Active. The top of the amplifier chassis was somewhat warm even with the amp in the Standby mode, and became much warmer when playing music, but never to the point that I couldn't touch it comfortably.
There are balanced and single-ended inputs, two sets of high-qua]ity binding posts for bi-wire capability, and switch-selectable high-gain operation for use with a passive preamplifier or for direct connection to a CD player. I used the standard-gain mode. The Lightstar is protected in three ways: a thermal switch activates a mute circuit if the heatsink temperature gets too high; similarly, short-circuiting the output engages a mute circuit until the condition is remedied; and finally, if the rated current is exceeded for more than 10 seconds, the power switches on the rear panel, which are actually resettable magnetic circuit breakers, turn the amplifier Off. For once, I did nothing to engage any of these protective devices!
So, what's so special about the Light-star's design? Carver's literature on the Lightstar states that the design team had two basic goals: first, to restructure the signal path for a more neutral amplification ofthe audio signal; and second, to develop a high-current power supply capable of driving virtually any loudspeaker. They also wanted the amplifier to be impervious to AC-line noise, spikes, and line-voltage variations, and for signal amplification to be unaffected by reactive loads. I'll leave the technical description of how they actually did it to Peter W. Mitchell (see Peter's sidebar, taken from his 1994 WCES Show report); interested readers can write to Carver Research for the Lightstar's white paper. Carver's Jim Croft told me that the development of the Lightstar was very much system-onented&emdash;selecting what worked best in a particular context. For example, they found that there was an optimal power-supply capacitance value&emdash;higher or lower values didn't sound as good.
SYSTEM Analog sources were the Linn LP12 with all the accoutrements (Lingo, Cirkus, QR/DNM Design 330 Mk.II Ringmat), Linn Ittok, and AudioQuest AQ7000nsx. Digital sources were PS Audio's Lambda transport, Sonic Frontiers' UltraJitter-bug, PS Audio's UltraLink II, and Sonic Frontiers' SFD-2. The preamp used was mostly a Sonic Frontiers SFL-2, with some use also made of a Convergent Audio Technology SL-1 Signature.
Interconnects, digital links (AES/ EBU), and power cables were mosdy the iatest-generation TARA Labs RSC. The Lightstar manual warns against using power cables other than those supplied, which are specially shielded and able to handle high current, but I obtained better results with TARA Labs RSC. I have The Original CableJackets, grounded to a single wire, on all the power cables. My listening room has two dedicated AC lines; the Lightstar was plugged directly into two receptacles (remember: it has two power cables) fed by one of the lines. On the other AC line, the digital components were plugged into a Tice Series II Power Block line- conditioner, the pre-amp directly into AC. In connecting the SFL-2 to the Lightstar, I tried both balanced and unbalanced connections. The sonic differences (once I compensated for the higher gain in the balanced mode) were fairly minor, the unbalanced mode sounding a touch more open.
Speakers were Dunlavy Audio Labs SC-IVs&emdash;first the original pair that formed the basis of my review in April '94 (Vol.17 No.4), then the revised version discussed in my Follow-Up to that review in March '95 (Vol.18 No.3). The SC-IV has above-average sensitivity (9ldBlSV/m) and does not present a reactive load. However, its impedance, while extremely even, is in the 5 ohm range, so it is somewhat demanding of current.
Initial impressions ofthe Lightstar, using the PS UltraLink II processor and the CAT SL-l Signature, were quite positive; but before I could do any serious listening, I had to complete a variety of other tasks, including some surround-sound-processor reviews for the Stereophile Guide to Home Theater, and the Follow-Up of the latest version of the Dunlavy SC-IV.
Then I got a call from Carver, who told me that they had discovered a potential problem with the Lightstar that surfaced if the line voltage was too high. Apparently, one of the design briefs was to allow the amp to work with lower-than-normal line voltages, but they didn't look at the effects of voltages that are higher than normal. It was subsequently discovered that this can cause some subtle high-frequency distortion.
The line voltage where I live tends to be on the high side&emdash;I've measured as high as 129V&emdash;so this could have presented a problem. Not to worry&emdash;they had a mod that would fix things, so I shipped the review sample back to Carver. By the time I got the modified, ready-to-cope-with-any-voltage unit back, I had changed my digital front-end to a Sonic Frontiers SFD-2, and was using a Sonic Frontiers SFL-2 line stage with a balanced connection between the SFD-2 and the SFL-2.
I was ready for some serious listening. I went through the usual test pieces (Chesky, Reference Recordings, etc.), and also listened to some "ordinary" records that I just happened to feel like playing. The sound was impressively neutral, the amp doing little to call attention to itself&emdash;which isiust what you want it to do. With the Lightstar in the system, I was content to listen to the music, and fclt little urge to switch over to one ofthe other amps I had on hand (all of them more expensive). This, too, is a sign that an amplifier is doing something right.
Dynamics and a sense of power held in reserve werc among the Lightstar's major strengths. The ebb and flow of large-scale music&emdash;such as the dramatic first movement of Nelhybel's Trittico, track I on the Reference Recordings HDCD'F sampler&emdash;played at a realistic level (ie, loud) had the sort of effortlessness that only muscle amps seem to be able to deliver. At the same time, the Lightstar didn't have that rough-around-the-edges quality that typically accom-panies muscle amps. The critical upper midrange and treble were smooth and refreshingly free of hardness or edginess.
Timbral accuracy was excellent, voices and instrumental textures sounding quite lifelike. The opening of Turandot (London 4l 4 274-2) was crisp without being overly etched. If everything isn'tjust so, this recording can easily start sounding harsh; the fact that it didn't is a tribute to the quality of the reproduction chain, including the Lightstar. If anything, the Lightstar's presentation was on the soft, forgiving side, with perhaps a bit of added warmth. (Did someone say "tube-like".)
In my opinion, most non-audiophile recordings are balanced to bc too bright and forward, so the Lightstar's slight tendency to counteract this wasn't such a bad thing. To put it in comparative terms, the Lightstar's tonal presentation reminded me of that of the Krell KSA-100S I reviewed in September '94 (Vol.17 No.9), but with better dynamics. The Bryston 7Bs were more dynamic still, but they had a touch of brashness when dealing with the orchestral/vocal com-plexities of Turandot.
The contrast between the Brystons and the Lightstar was also brought out by Beachcomber, a new CD of wind- band encore pieces by Frederick Fennell and the Dallas Wind Symphony (Reference RR-62CD). "Russian Sailor's Dance" had natural timbres, excellent dynamics, and very good depth and ambience through the Lightstar; switching to the Brystons resulted in a sharper, crisper sound that better communicated fine details and depth/ambience, but it sounded a bit more "electronic."
With this recording, the Threshold T-200 (see my review last month) provided the best overall balance between dynamics, clarity, sweetness, and bass extension/tightness; but the Lightstar wasn't far behind. This was the case at loud-but-sensible levels. At very high levels (peaks measuring about 103dB, C-weighting, "fast" response on the Radio Shack sound-pressure-level meter), the Lightstar surpassed the Threshold T-200 in the ability to drive the Dunlavy SC-IVs in a way that sounded dynamically more open and effortless.
One of the claims for the Lightstar is for excellent bass performances so I spent some time checking this out. The Dunlavy SC-IVs have twin 10" drivers in a large sealed box: the bass they produce has the potential of being both extended and tight. The extension was fully there through the Lightstar, but, compared to the Threshold T- 200 or the Bryston 7Bs, the bass wasn't quite as tightly controlled. The bass drum in the opening of Trittico certainly didn't lack weight or power through the Lightstar, but neither was it as crisp and focused as it was through the other two amplifiers. With speakers that have a more rolled-off bottom end than the Dunlavy SC- IVs, the Lightstar's added warmth would likely be more of an asset.
Finally, there's thc matter of overall transparency/clarity. J. Gordon Holt, in whose definitions we trust, defined transparency as "freedom from veiling, texturing, or any other quality which tends to obscure the signal. A quality of crystalline clarity." I had some difficulty getting a handle on this aspect of the Lightstar's performance. There was no doubt that the Lightstar was good, but exactly how good was it? Comparable to the Threshold T- 200, which I had thought worthy of Class A rating?
I did some controlled listening, comparing the Lightstar with the T-200 at matched levels, using track 1 of All- Star Percussion Ensemble (Golden String GS CD 005) and track 10 of Sylvia McNair's Sure Thing: The Jerome Kern Songbook(Philips 442 129-2). Conclusion: a close call, but I'd say the Lightstar falls short of the overall transparency offered by the T-200. In terms of the familiar visual analogy, it was as if the view through the Lightstar was slighdy obscured&emdash;veiled, if you like&emdash;in comparison to the "crystalline clarity" of dhe Threshold. The difference was fairly small&emdash;smaller than, for example, the difference between the Mk.I and Mk.lI versions of the Sonic Frontiers SFD-2 digital processor. (I had an early sample ofthe Mk.ll on loan for one tantalizing weekend.) I should also note that the comparisons were done at moderate levels (peak sound-pressure levels just below 90dB); the outcome might be different at very high levels and/or with speakers that have a lower sensitivity.
A full set of measurements of the Carver Lightstar was made in its unbalanced mode, with selected measurements repeated for the balanced configuration. Unless otherwise noted, the results below are for unbalanced operation. Also, al] measurements (except for the gain check) were made with the normal gain setting.
Following the 1/3-power, one-hour preconditioning test, the Lightstar's heatsink/chassis was too hot to touch comfortably for more dlan a few seconds.
The Lightstar is non-inverting in the unbalanced mode. Balanced, pin 2 is configured as the positive leg, pin 3 the negative. The input impedance measured 54.2k ohms (unbalanced) and 115,.2k ohms (balanced). The output impedance of 0.05 ohms or slightly less (depending on frequency and load) up to lkHz, and 0.27 ohms or less at 20kHz, should have no practical effect on the amplifier's per-formance with different loudspeaker loads. Voltage gain into 8 ohms mea-sured 28.8dB unbalanced, and virtually the same, 29dB, balanced in the normal gain setting. Balanced gain in the high gain setting was 40.8dB. DC offset measured a negligible 3mV in the left channel, 2.2mV in thc right.
Signal/noise (ref. and output of 2.83V; ie, a power level of 1W into 8 ohms) measured 73.2dB (75.7dB, balanced) over a 22Hz-22kHz bandwidth, unweighted; 79.6dB (78.9dB, balanced) over a lOHz-500kHz bandwidth, A-weighted. Unweighted over the latter bandwidth, it measured a rather uninspiring 64dB, suggesting the presence of considerable power-supply noise outside the audible range. Within the audible range, a high-frequency mechanical whistle emanated directly from the Lightstar at various times during the tests. It was well below the irritation threshold for me (though was more annoying for Copy Editor Kristen Weitz, whose desk is in the same room as our test bench, and who frequently grits her teeth at the innumerable tortures we inflict on innocent amplifiers). This whistle became louder the harder the amplifier was pushed. I wouldn't expect it to be a problem in normal operation, however.
Fig.1 shows the frequency response of the Lightstar driven from both its balanced and unbalanced inputs. Note that, in the unbalanced mode, there's a slight peak at the top end (with a max-imum of just under 0.5dB at 20kHz into 8 ohms). in the balanced mode, there's no peak here; instead, the response has begun its high-frequency rolloff. Neither deviation should be audibly significant, though the difference (if you compare the balanced and unbalanced modes) may be subtly noticeable.
The Lightstar's small-signal IkHz squarewave response in fig.2 is unlike any I have ever seen. The risetime is fast, with a small, damped overshoot at the end of the rising (or falling) edge of the wave-form. But just before the rise&emdash;or drop&emdash; there's a single cycle of ringing. This same behavior is visible in the 10kHz squarewave response of fig3 This is very poor squarewave performance. Observed more closely, however, it shows a square-wave with a slow risetime (the probable result of the rapid roll off in the amplifier's response above audibility observable in fig.1) with that pre-rise, post-drop ringing cycle superimposed on it.
The crosstalk shown in fig.4 is also slightly worse than we're accustomed to observing. Since this is a dual-mono design, I found this result puzzling, though it could relate to circuit-board proximity, noise, or something unique to the unusual design of the amplifier. With a nunimsn crosstalk of about -49dB above 10kHz, however, the smaller-than-normal channel separation in abso-lute terms should not affect the audible performance. The Lightstar's THD+ noise vs frequency results are plotted in fig.5. While the balanced mode shows a slightly higher result, all of the measurements are very closely clustered, with a typical increase at higher frequencies. Whether this result is due to noise or distortion is not apparent.
The Carver's distortion waveforms are unlike any I have ever seen. The results varied considerably with load impedance and power output. The results in fig.6 show periodic positive- and negative-going spikes&emdash;probably power supply-related&emdash;which occur at each half-cycle of the source signal. The "noise" between the spikes appears to follow the source waveform, at least in a general fashion. The distortion waveform in fig.7 is the most distinctive one I obtained during testing. The spikes are still visible, as is a positive-going burst that occurs at each cycle of the source. Again, it appears to "ride" the modulations of the source itself I wouldn't attempt to predict the audibility of this type of distor-tion; since it occurs at the samc frequency as the source, it may be masked by it.
The actual distortion produced by the Lightstar is low compared with the noise level. The low-frequency spectrum ofthe ampliher's output whilc reproducing a 50Hz sinewave at 400W into 4 ohms (2/3 rated power at that load) is shown in fig.8. This is an excellent result; all of the artifacts are below -89dB (about 0.0035%), with the third harmonic being the highest in level. Fig.9 shows the amplifier's output spectrum repro-ducing a combined 19+20kHz signal&emdash; the intermodulation products resulting from an input signal consisting of an equal combination of these two frequencies&emdash;at 164W into 8 ohms. The largest artifacts here are at 18kHz and 21kHz (-66dB, or about 0.05%), with the next largest at lkHz (-76.5dB, or about 0.015%). The artifacts from this test signal at 303W into 4 ohms (not shown) were very similar both in distribution and in level. In both cases, this was the maximum power obtainable with this signal prior to visible clipping &emdash;not unusual with a 19+20kHz input. Very few amplifiers will approach their rated power with this signal, which has a peak level twice its RMS level.
The Carver's discrete clipping levels (at 1% THD+N) are shown in Table 1. The lkHz, THD+N % vs output power curves are shown in fig.10. This amplifier is clearly a powerhouse While the power does not quite double with each halving of frequency, it comes close&emdash;except at 2 ohms, where it still comes within 50W of meeting its rated 1200W output (the 118V line voltage may have been enough to account for the difference here). The Lightstar certainly ranks among the most powerful amplifiers we have tested, including some which are dramatically more expensive.
The test-bench results of the Lightstar were generally good (spectacular in the case of its power output). Only two results really gave me pause: the strange squarewave performance, and the lower-than-expected S/N ratio coupled with the pulse-type noise signature. Apparently, neither affected RD's positive listening experiences with the amplifier.&emdash;Thomas J. Norton
Whenever I hear of a new technology, I get excited by its potential, but wonder whether the technology, while perhaps solving one set of problems, will create another set. The Carver Lightstar Reference does represent new technology, but as far as I can tell, one with no significant sonic downside. The Lightstar performed with perfect reliability, without any operational quirks or untoward side effects deriving from its novel design.
The extremely powerful Lightstar has exciting dynamics and impressive bass response, and also possesses a considerable degree of finesse and subtlety. Having said that, I must admit that I ultimately preferred the superior transparency of the Threshold T-200 (which costs about 40% more and has only 30% of the power); but the solid, highly competent Lightstar may prove a particularly good match with speakers that are difficult to drive and which can use a bit of extra warmth. &emdash;Robert Deutsch
The Carver Lightstar Reference is a power amplifier whose ratings suggest that it is an ideal voltage source&emdash; meaning that its rated power doubles with each halving of load impedance (300W into 8 ohms, 600W into 4 ohms, 1200W into 2 ohms). That's difficult to accomplish with conven-tional power transistors, which operate safely only within a restricted range of voltage/current combina-tions. (The graph of this range is called the transistor's safe operating area.) Many amplifiers deal with this limitation by using several transistors wired in parallel to share the output current. This works, but multiple devices usually don't have exactly identical characteristics, and some designers feel that a single set of out-put devices per channel can sound slightly better. Delivering high power into nor-mal impedances requires high output voltages. To provide these without violating each MOSFET's 30V limit the positive and negative power-supply voltages track up and down together with the audio signal, while the voltage difference across the MOSFETs is kept within a safe 10V range. In effect, all of the voltages in the output stage "float" up and down with the audio signal, while the high-current MOSS ETs are free to provide virtually limidess current to drive a loudspeaker's voice-coil. While dhe incoming audio signal is fed to the MOSFETs to produce the output current, it also drives a pair of PWM (pulse-width modulation) amplifiers that modulate the power-supply voltages up and down. The result is a purist output stage that can provide both high curTent and a wide voltage range regardless of the speaker's impedance.
One potential difficult remained: Music is full of transients, and speakers respond to transients by generating "back-EMF" pulses that must be absorbed by the amplifier without affecting its sound or its safety. Feedback diodes in the Lightstar provide a return path for back-EMF energy, which is fed back into the power supply. &emdash;Peter Mitchell
I For the benefit of those Stereefhile readers who aren't fully up on industry scuttlebutt, here's the real scoop (or at least as much as I know) about Carver the Man and Carver the Corporation: Bob Carver founded Carver Corporanon in the early '80s and was its CEO for a number of years, eventually taking the company public. About two years ago, he left the Corporation on a year-long sabbatical, and ended up resigning in March 1994. There were suits and countersuits about financial matters, non-competition clauses, and patent rights. These legal issues have now been resolved&emdash; see "Manufacturers' Comments," March '95, p.195&emdash; and Carver Corporation is proceeding with its product development and marketing.
Carver Research, the high-end division of Carver Corporation, is devoted to the "introduction of leading-edge technologies in their most advanced form" According to Carver Research, Bob Carver was the person who came up with the onginal idea for the Lightstar, but the final product is the result of extensive devdopment by a team headed by VP of Research and Development Jim Croft, an engineer with a long list of credits in audio and Compact Dics design.
Bob Carver has a new company, which has introduced its own amplifier, the Sunfire. The Sunfire is conceptually similar to the Lightstar, but has followed a different path of development. In this review, subsequent references to "Carver" win be to the Corporation, not to the Man.
Has Carver Created The First True "Amp For All Speakers"?
BY JULIAN HIRSCH Stereo Review, November 1994 Some fourteen years ago, Carver developed something called a "Magnetic Field" amplifier, a revolutionary change from conventional power-amplifier design. It was small (a cube less than My 7 inches on a side), weighed only a few pounds, delivered 200 watts per channel into 8-ohm loads, and sold for $349. Over the years, other Carver amplifiers have employed the same principles, some of which were adopted in various forms by other manufacturers.
Basically, the Carver Magnetic Field amplifier had a signal-sensing power supply that rapidly increased the supply voltage to the amplifier circuits to accommo-date signal peaks exceeding normal listening requirements. The design enabled a relatively low-power amplifier (and power supply) to handle high-level program peaks without distortion. Only a couple of steps of voltage increase were practical at the time of the original Carver M-400 amp, but they were sufficient for it and its successors to provide the essential performance of a heavy, expensive power amplifier in a much more economical fashion. Over the years technology has advanced, especially in digital circuits and devices, and Carver Research (a division of Carver Corporation) has been working for some time on a vastly improved amplifier carrying the basic concept of the original Magnetic Field amps to its ultimate potential. The Carver Research Lightstar Reference amplifier, as the first commercial product using the new technology is called, invites (actually, demands) superlatives. It is very large and heavy, and correspondingly expensive, with a list price of $3,500. It is also probably the first true voltage-source amplifier to reach the hi-fi market, certainly the first one I have seen or heard of. I suspect it will not be the last.
The Lightstar develops most of the required output voltage in its power supply, which is built around what the company calls a Digital Transformer, and the role of the output devices is merely to funnel the necessary current to the load. Although the power-supply (signal) voltage can be as high as i170 volts, the output stage uses only two devices, operating in Class A, and the amplifier has no global negative feed-back or conventional gain stages in its signal path.
There are many other distinct differences between the Lightstar and ordinary amplifiers, some of which are explained more fully in "The Lightstar Advantage" (box). And for those seeking an in-depth exposition, Carver Research has a white paper on the design of this remarkable amplifier.
Basically, the most unusual operating feature of the Lightstar is that it is a virtually ideal voltage source with enormous power capabilities. The manufacturer's specifications tell the story: The Lightstar is rated to deliver 300 watts into 8 ohms, 600 watts into 4 ohms, and 1,200 watts into 2 ohms, from 10 Hz to 20 kHz, with less than 0.2 percent total harmonic distortion (THD). It can also safely drive even lower load impedances (down to 1 ohm or less), although its performance is not rated or specified below 2 ohms.
The Lightstar's physical appearance is as novel as its electrical characteristics. All black, it is made of thick (3/8-inch) aluminum and measures 19 inches wide, 7 inches high, and 173/4 inches deep. It weighs 72 pounds. The sculptured front panel has two illuminated level meters and an oval touch-plate standby on/off switch. The amplifier remains on in standby mode, but with reduced power consumption.
The Lightstar is actually a dual-mono amplifier. Not only are the two channels entirely separate from each other, both physically and electrically, but they even have separate heavy-duty line cords and circuit-breaker/power switches on the rear panel. Equipped with sturdy handles, the rear panel also has conventional single-ended signal inputs, via gold-plated phono jacks, and balanced inputs with gold-plated Cannon-type connectors. A small toggle switch near each input section switches it from standard-gain mode to high gain for use when the amplifier is being driven directly from a CD player or "passive preamplifier."
The speaker connectors are gold-plated binding posts usable with single or dual banana plugs, lugs, or stripped wire. There are two pairs of outputs for each channel, providing added versatility when driving a multiple-speaker array or when biwiring speakers.The Lightstar is protected against shorted outputs by a muting circuit, which operates when it is driven hard into an impedance of 0.5 ohm or less. The magnetic circuit breakers in the power-cord inputs are each designed to trip if the power consumption in that channel substantially exceeds its rated maximum value of 1,440 watts. The two channels together can draw between 2,000 and 3,000 watts in full-power operation, so the power cords should be plugged into outlets with a suitable rating&emdash;and never through an extension cord! Since the Lightstar's Digital Transformer has the potential to generate radio-frequency interfer-ence (RFI), the amplifier is tightly shielded by its cabinet and has RFI filters in its line and speaker circuits.
Because the Lightstar can consume so much line current, we drove only one channel at a time for high-power tests (both channels were driven for certain low-level measurements). The amplifier easily met its specifications, impressive as they are. Frequency response was better than 0.1 dB from 20 Hz to 10 kHz, rising to +0.4 dB at 20 kHz. A wide-range measurement from 10 Hz to 200 kHz (the limits of our Audio Precision System One test equipment) showed a response of +0.4, -0.2 dB from 10 Hz to 20 kHz; the response dipped to -1.1 dB at 60 kHz, rising again to +1.5 dB at 130 kHz before falling to below -2 dB at 200 kHz. These small (and insignificant) variations may have been due to the RFI filtering or to special aspects of the power supply.
Power output was, to put it mildly, prodigious (see "Measurements"). As would be expected from an ideal voltage source, the Lightstar's dynamic power output was virtually identical to its steady-state clipping-level power. I suspect that they were actually the same, but the dynamic measurement (reading the display from an oscilloscope and calculating the power) is inherently less accurate than a metered steady-state measurement.
The Lightstar's cabinet became extremely hot during the high-power tests. The top and side surfaces were too hot to touch for more than a sec-ond or two, although the front panel remained comfortable to the touch. After all, the top, bottom, and sides of the Lightstar are, in effect, the heat sinks for the most powerful amplifier most of us will ever see and touch, and a miniaturized watt has yet to appear on the scene.
Harmonic distortion at 300 watts in-to 8 ohms was about 0.05 percent from 100 Hz to 5 kHz, reaching 0.1 percent at 20 Hz and about I percent at 20 kHz. At 1 kHz the distortion was less than 0.1 percent from 5 watts to about 320 watts into 8 ohms. All of these readings were of total harmonic distor-tion plus noise (THD+N). A spectrum analysis (excluding noise) of the har-monics in the audio range showed a few components reaching as high as 0.01 percent and others typically around 0.001 percent or so.
Given the Lightstar's measured performance, one would not expect it to contribute any sound of its own in normal listening, and that was certainly our experience. Sonically, it was utter neutral and transparent. On the other hand, we were not willing to place the speakers in jeopardy by using more than a tiny fraction of this amplifier's power reserve. Carver Research recommends (and we heartily concur) that the speakers be protected by external fuses of the value suggested by the speaker manufacturer.
During our listening tests, we left the Lightstar energized, in its standby condition, so that it could be activated at a finger touch (and because it was not practical to reach behind it to turn the two mono amplifiers on and off). Although the standby mode of operation is undeni-ably convenient, we suspect that it could run up a sizable electric bill in time. The amplifier's top, after 24 hours in standby, was fairly warm to the touch and became slightly warmer during use at normal listening levels (averaging less than 1 watt). Based on our experience with the Lightstar, we recommend it highly for driving difficult speaker loads, particu-larly ones in which the impedance dips to 2 ohms or less. On the other hand, even if you use only a minute fraction of its capability, the Lightstar Reference is probably the most advanced power amplifier you can buy, and I doubt that any speaker has yet been made that it cannot drive with ease.
If its drawbacks (weight, power consumption, size, and so forth) are discouraging to consider, be patient. We understand that Carver Research is planning other, more affordable Lightstar components for the near future.
Output: at clipping (1kHz)
8 ohms 331 watts
4 ohms 650 watts
2 ohms 1,300 watts
Clipping headroom (re: rated output)
8 ohms 0.43 dB
4 ohms 0.35 dB
2 ohms 0.35 dB
Dynamic power
8 ohms 315 watts
4 ohms 612 watts
2 ohms .. 1,223 watts
Dynelmk heendroom (re: rated output)
8 ohms 0.21 dB
4 ohms 0.09 dB
2 ohms 0.08 dB
Distortion at rated output O.045%
Sensitivity (1 watt into 8 ohms)
Standard 100 mV
High 26.5 mV
Noise (A-weighted, re: l-watt output)
Standard -82 dB
High -74 dB
Freequeney response...................20 Hz to 20 kHz +0.4, -0.1 dB
LIGHTSTAR REFERENCE Specs/review
Carver Research Forum, Everything Lightstar, Lightstar, Lightstar,
Post Reply
4 posts • Page 1 of 1
- TNRabbit
- R.I.P. Friend
- Posts: 13360
- Joined: Sun Jan 14, 2007 11:53 am
- Location: TN Native Languishing in VA
- Contact:
I just posted this last week under the "Deal of a Lifetime" thread...
http://www.carveraudio.com/phpBB2/viewt ... c&start=15
http://www.carveraudio.com/phpBB2/viewt ... c&start=15
From FrankieD's lips to your ears: Sunfire - a quiet box of endless power.
Sunfire TG-IV/400~7 Amp
Carver SD/A-360 CDP
Benchmark DAC-1
Sony SACD/DVD-A
Active bi-amp: Ashly XR-1001 & 2 Rane PEQ-15s
Main: HotRodded AL-IIIs
Sub: Klipsch RT-12d
Center: Sunfire CRS-3c
Surround: Sunfire CRS-3 (x 2)
RIP WIlliam B. Dibble, 1948-2012. I'll miss you my friend.
From FrankieD's lips to your ears: Sunfire - a quiet box of endless power.
Sunfire TG-IV/400~7 Amp
Carver SD/A-360 CDP
Benchmark DAC-1
Sony SACD/DVD-A
Active bi-amp: Ashly XR-1001 & 2 Rane PEQ-15s
Main: HotRodded AL-IIIs
Sub: Klipsch RT-12d
Center: Sunfire CRS-3c
Surround: Sunfire CRS-3 (x 2)
OconeeOrange wrote:"Gary likes to play it 'loud' as do I. His system begs you turn it up until you die"
RIP WIlliam B. Dibble, 1948-2012. I'll miss you my friend.
- BlueMDPicker
- Newbie
- Posts: 43
- Joined: Wed Jun 13, 2007 5:50 pm
- Location: Sarasota, FL
What a concept!
Two of the most interesting and desirable specs on the Carver Research Lightstar gear:
5 year warranty and made in the USA!!
Both concepts have nearly vanished from today's low/mid/hi fi market.
5 year warranty and made in the USA!!
Both concepts have nearly vanished from today's low/mid/hi fi market.
Carver 2CH: Rega Planet 2000 CDP | Schiit Gungir DAC | MMF-5SE | Seduction Phono | Lightstar Direct preamp | Lightstar Reference amp| Polk Audio SDA 2b Studio with crossover upgrades
Tube 2CH: Eastern Electric MiniMax CDP | Dynaco ST-70 | DCM 75+75 | Joule Electra LA-100Mk III | Marchand XM44 Xover | Innersound Isis MK3.5 Hybrid ESL Speakers
Main 2CH: Wadia 301 | PS Audio Digital Link III with Cullen Level IV mods | PS Audio GCPH | Bluenote Bellavista turntable with Dynavector 20X | PS Audio GCP-200 | Innersound Active Crossover/Bass Amp | Sanders Sound ESL Amp | Innersound Eros MK III Hybrid ESL Speakers
HT: Panasonic 58" plasma | Yamaha Aventage RX-A1050 | Revel LE-1 | Revel Ultima Gems and center | Revel Sub-15
Tube 2CH: Eastern Electric MiniMax CDP | Dynaco ST-70 | DCM 75+75 | Joule Electra LA-100Mk III | Marchand XM44 Xover | Innersound Isis MK3.5 Hybrid ESL Speakers
Main 2CH: Wadia 301 | PS Audio Digital Link III with Cullen Level IV mods | PS Audio GCPH | Bluenote Bellavista turntable with Dynavector 20X | PS Audio GCP-200 | Innersound Active Crossover/Bass Amp | Sanders Sound ESL Amp | Innersound Eros MK III Hybrid ESL Speakers
HT: Panasonic 58" plasma | Yamaha Aventage RX-A1050 | Revel LE-1 | Revel Ultima Gems and center | Revel Sub-15
- TNRabbit
- R.I.P. Friend
- Posts: 13360
- Joined: Sun Jan 14, 2007 11:53 am
- Location: TN Native Languishing in VA
- Contact:
Re: What a concept!
From FrankieD's lips to your ears: Sunfire - a quiet box of endless power.
Sunfire TG-IV/400~7 Amp
Carver SD/A-360 CDP
Benchmark DAC-1
Sony SACD/DVD-A
Active bi-amp: Ashly XR-1001 & 2 Rane PEQ-15s
Main: HotRodded AL-IIIs
Sub: Klipsch RT-12d
Center: Sunfire CRS-3c
Surround: Sunfire CRS-3 (x 2)
RIP WIlliam B. Dibble, 1948-2012. I'll miss you my friend.
From FrankieD's lips to your ears: Sunfire - a quiet box of endless power.
Sunfire TG-IV/400~7 Amp
Carver SD/A-360 CDP
Benchmark DAC-1
Sony SACD/DVD-A
Active bi-amp: Ashly XR-1001 & 2 Rane PEQ-15s
Main: HotRodded AL-IIIs
Sub: Klipsch RT-12d
Center: Sunfire CRS-3c
Surround: Sunfire CRS-3 (x 2)
OconeeOrange wrote:"Gary likes to play it 'loud' as do I. His system begs you turn it up until you die"
RIP WIlliam B. Dibble, 1948-2012. I'll miss you my friend.
Post Reply
4 posts • Page 1 of 1


text:
Around the world, Ecolab is partnering with customers and suppliers to implement the Globally Harmonized System of Classification and Labeling of Chemicals (GHS).
Ecolab Global Headquarters
Office of Corporate Sustainability
1 Ecolab Place
St. Paul, MN 55102
Submit your comments and suggestions via the form, and our Corporate Sustainability Team, based in St. Paul, will assist.
The Globally Harmonized System of Classification and Labeling of Chemicals (GHS) provides a common approach to classifying chemicals and communicating product-safety information. Since 2009, Ecolab has been planning and implementing GHS, incorporating the standard into the nearly 200,000 SDSs issued annually in approximately 66 different country-specific templates and 43 languages. While implementing GHS internally, we also partnered with customers in Europe and the United States to help them meet their product safety goals by the 2015 GHS implementation deadline.

subset: commoncrawl


text:
|Centre Ice Arena, Traverse City, Michigan
Sabres fans everywhere are hoping that the young centerman's vision and skill will provide a major spark as the Sabres embark on their title defense, but there is more to evaluate than just goals and assists. You want to see him win one-on-one battles, skate with a purpose in all three zones, and generally act more assertive with each passing shift. Grigorenko has been working in Buffalo all summer, and has even made a few trips back to Quebec to go through "boot camp" style sessions with fellow young professionals. No better place than Traverse City to prove that he's ready to earn regular NHL minutes when the Sabres land back in Buffalo.
Will the Sabres pack team toughness?
With Zack Kassian, Matt MacKenzie, Shawn Szydlowski, and Corey Tropp all dropping the mitts, the Sabres got nasty when necessary with four fighting majors en route to winning the 2011 title. A scan of the 2013 roster has you wondering who will set the edgy, physical tempo this go-round.
The Traverse City tourney is a time for young players to gain notice league-wide, and if old time hockey is needed, expect players like Justin Kea (five total fights in 2012-13), Colin Jacobs (five), and Alex Lepkowski (four) to show some teeth. It's easy to forecast Nikita Zadorov (four) and his hitting ability causing some attention. Even Locke (four) has proved to be a willing dance partner when called upon. The best bet to get engaged in a scrap, though? Try 5-foot-10 forward Frederick Roy, whose six fighting majors last season sparked his team and entertained those in the seats.
Are sophomores ready for the next step?
Fans have already had a taste of Mark Pysyk's NHL talent, but two other names from the class of 2010 will be looking to elevate their play heading into the middle year (i.e. "moving day") of their entry-level deals.
The defenseman with the most to prove may very well be Jerome Gauthier-Leduc. A 28-goal man in his final year of junior, the talented righty has the offensive sense to fill the power play void left by T.J. Brennan's departure, but needs to show that his strength and conditioning is up for the grinding own-zone battles. Mixing and matching him into key minutes could get his year off on the right foot following a seven-point rookie season on the farm.
Last season, AHL rookie Kevin Sundher had gradually worked his way into the Amerks' top-six forward grouping before suffering an upper-body injury in February. Sundher's strength, passing skills, and ability to make plays at speed add versatility up-front, so a clean bill of health could see the six-footer counted on for consistent production entering an important stage of his professional development.
How could the lines shake out?
With a solid blend of size, speed, and two-way skills, the permutations seem endless when building balanced offensive units. Shuffling should be expected, but there are some compelling situations in play that are worth exploring. Consider the following:
- Matching Grigorenko's vision and Joel Armia's right wing shooting could set the stage for years of potent offense as the Sabres build out a new core.
- Leveraging the chemistry between Zemgus Girgensons and Johan Larsson could very well carry the team to a tourney repeat and pay off massively in the long run.
- Dan Catenacci's speed, offensive polish, and competitive work ethic could land him the role of top-six glue guy.
- Getting Justin Bailey back to his natural right wing spot after playing on the left at USA's National Junior Evaluation Camp could provide a boost on his way back to Kitchener.
- Pairing worker bee skills of Kea and Nick Baptiste could get the puck deep, establish an aggressive forecheck, and lead to plenty of action around the crease.
Catenacci - Grigorenko - Armia
Larsson - Girgensons - Bailey
Jacobs - Sundher - Nelson
Locke/Roy - Kea - Baptiste
The top two lines seem simple enough. Bailey played well with Grigorenko as his centerman in the Blue-Gold scrimmage and would certainly fit in opposite Armia, but Catenacci is poised to be a factor when the Amerks begin their schedule, making him worthy of the top-line opportunity. His explosive acceleration saw him score a goal at the 2011 tournament, and you have to think that rolling with supremely talented linemates would see him add to the stack and generate momentum entering his first full season as a pro.
Rounding things out with an OHL line and a WHL line could make sense from a skill perspective. The X factor is a guy like Frederick Roy. He was used in a checking-line capacity last year in Rochester, but you have to wonder if he sees a shift or two with Grigorenko to rekindle the fun from their days together with the Quebec Remparts.
Austin - Pysyk
Zadorov - Ristolainen
Lepkowski/Boland - Ruhwedel
Boland/Lepkowski - Gauthier-Leduc
The defense is a little more difficult to project, but with equal amounts of right and left-handed sticks it's sensible to let that guide the pairings. Putting the 2013 twin towers of Ristolainen and Zadorov together isn't a guarantee, as the Russian may be better suited to ride along with a more experienced partner, but the hulking duo would certainly present a difficult pair to play against. Putting Austin to the test in big minutes with Pysyk would no doubt tell a more compelling developmental story for the former seventh-rounder.
Let the games begin.


text:
2 Definitions of Oil
The meaning of the word oil, the definition of Oil:
n. - Any one of a great variety of unctuous combustible substances, not miscible with water; as, olive oil, whale oil, rock oil, etc. They are of animal, vegetable, or mineral origin and of varied composition, and they are variously used for food, for solvents, for anointing, lubrication, illumination, etc. By extension, any substance of an oily consistency; as, oil of vitriol.
v. t. - To smear or rub over with oil; to lubricate with oil; to anoint with oil.
The word "oil" uses 3 letters: I L O
No direct anagrams for oil found in our database.
Words formed by adding one letter before or after oil, or to oil in any order:
b - boil c - coil loci d - diol idol lido f - filo foil k - kilo m - limo milo moil n - lino lion loin noil o - olio r - loir roil s - oils silo soil soli t - loti toil v - viol y - oily
Shorter words found within oil:
List shorter words within oil, sorted by length
Words formed from any letters in oil, plus an optional blank or existing letter
List all words starting with oil, words containing oil or words ending with oil
All words formed from oil by changing one letter
Other words with the same letter pairs: oi il
Browse words starting with oil by next letter
Previous word in our database: oidium
Next word in our database: oilbird


text:
'To Newtown, With Love' — Day 2 Photos + The Final Step
Five banners. Let's repeat that again: FIVE BANNERS!!!
By our (admittedly not perfectly scientific) calculations, that means you guys filled 100-plus square feet of space with your messages. In two days. Buffalo, we knew you'd come through, but seeing the final results -- five giant banners scrawled with so many thoughts and prayers -- is absolutely mind blowing.
Your words to the people of Newtown, Conn. are incredibly heartfelt and encouraging. Seeing so many of you pause to think of what to write -- and then to read the notes others had left -- was truly incredible. We noticed more than a few people tear up...and some of us did, too.
But there's one final thing we need to do before we ship these notes off to Newtown. On Friday morning (December 21), the Townsquare Media team -- both the voices you hear on the radio every day and those of us behind the scenes -- will be in Niagara Square at 9 a.m. Join us, and help hold these banners up for a few photos (and take the opportunity to sign one of them, if you didn't make it to the mall). We'll send some of them to Newtown along with the banners.


text:
CEDAR RAPIDS, Iowa, Jan. 29 (UPI) -- A new version of Rockwell Collins' monitor and control software with enhanced security for government and commercial networks is now available.
MaxView features a modular framework and intuitive user interface for managing of local and remote networks, automating complex service tasks and unifying management of disparate systems into one view.
The one-view capability eliminates the need for separate proprietary network management systems.
"Network security concerns are increasing in government and commercial environments," said Bob Haag, vice president and general manager of Communication and Navigation Products for Rockwell Collins.
"Customers cannot risk vulnerabilities and compromises affecting network availability, electronic communications and business transactions. It is our priority and commitment to customers to provide software with the highest security standards to manage both commercial and military networks."
Rockwell Collins said the MaxView Enhanced Security provides additional security attributes complying with stringent Defense Information Systems Agency Security Technical Implementation Guides that ensure secure configurations, including operating systems, network devices and applications.


text:
Toy Strip Origami
by Peter Grabarchuk
Suppose you have three strips, each colored on
one side. The width of each strip is 1 unit and their lengths as long
as you need. Using these three Origami strips, can you produce the
three letter shapes shown, with their respective proportions, at the
top of the illustration, i.e. the "T" letter from the red strip, the "O"
letter from the yellow strip and the "Y" letter from the blue one?
While solving this Origami strip puzzle only simple folds (so-called
"book folds") with no twists or bends are allowed. Note, that during
every single fold you can fold only one(!!) single layer of paper at a
time. At the same time you can perform such a "single-layered" fold so
that after it is done its parts may cover/envelop some other parts of
your sign/shape.
Finally, you should see every letter shape as it is shown; its color/white
parts may be either plain, or composed of several respective elements.
You can mark out, cut off, and precrease your colored paper strips
before the final folds as you need, keeping in mind that your main and
the only challenge is to achieve each of the three letter shapes in
the LEAST number of simple ("single-layered, book") folds. You are not
limited in length of used strips, but try to use a strip as short as
you can to form every letter. And remember that a strip you use should
be always in the form of a narrow rectangle.
Step Through:


text:
Photo & Film Cruise Shoots in Marina del Rey
From commercials and television shows to music videos, documentaries and feature films, Hornblower helps filmmakers capture just the right shot. Contact us to learn about our picture-perfect yachts, spectacular settings and customized services for filming.
Monday-Friday, 9 am-5 pm Saturday by appointment
For information please call 310-301-6000 OR fill out this form and someone will call you.
After three decades of hosting film shoots along the California coast, Hornblower has become the go-to company for those in advertising, television and film. We know where to find the best vistas and lighting conditions. We've served entertainment and marketing clients of all sizes, which means we can accommodate a variety of budgets. And, all our experience allows us to handle agreements, forms and insurance issues with ease.
From romantic reality show tapings to overnight shoots at storied destinations such as Catalina Island, Hornblower is the premier location. Our yachts and affordable dockside options make film and photo shoots a snap. Some of our past entertainment industry clients include:
Entourage | CSI-Miami | Dexter | 9 on the town | KTLA Morning Show | Style Network | Dr. 90210 | The Bachelor | More to Love | For the Love of Ray J | Hells Kitchen | Eye on LA | Date My Mom | Discovery Channel | Movie & a Makeover | Arrested Development | Tyra Banks Show | Miss Match | Live Like A Star | Notes from the Underbelly | Columbo | Baywatch | V.I.P. | Timbaland Music Video | Blind Date | Good Morning America | Dismissed | Millionaire Matchmaker | Real Housewives


text:
AUGUSTA, Ga. – Despite an amazing rally in the second half, the Georgia College & State University men's basketball team (22-6) had its season come to a close Saturday, falling 50-46 to USC Aiken in the NCAA Southeast Regional first round at Augusta State University.
The Bobcats had a near-impossible second half comeback, erasing a lead that had been 13 at 31-18 at halftime, actually taking a lead of their own on two occasions.
Georgia College dug a difficult first-half hole. The Pacer lead reached as high as 19 at 22-3 with 7:49 left in the period. Helping power the comeback was senior guard Jake Rios (Bozeman, Mt.) making the most of what would be his final game, scoring 17 points on 5-of-8 shooting from behind the arc.
With the Bobcats down four and 1:17 remaining, junior guard Andre Mikell (Snellville, Ga.) was shoved to the ground while throwing up a circus shot that went in, cutting the lead to 48-46 with 57 seconds left. After a missed free throw, the Pacers went 1-of-2 from the line, and the Bobcats had a chance to tie, but they turned it over before they could get off the game-tying three attempt.
Rios was the lone double-digit scorer for the 'Cats, while Seth Leonard had 17 to pace the Aiken squad. Bobcat forward Josh Hurst (Athens, Ga.) ripped down 12 boards to go with eight points. Mikell finished with eight points, four assists and a pair of steals, while Graham Martin (Marietta, Ga.) had eight points and five boards.
Neither team shot particularly well in the defensive battle, as the Pacers edged Georgia College 35.6 percent (16-45) to 34 (16-47). The 'Cats made just six field goals in the first half, while the Pacers hit the same number of shots in the second stanza. The Georgia College free-throw shooting—an area of pride this season, as the team was second in the nation in shooting percentage—hurt the 'Cats today. Georgia College went 8-of-21 (.381) from the stripe, their worst performance of the year.
The loss ends the 2009-10 season for Peach Belt Conference (PBC) West Division Champions Georgia College, making the sixth trip in school history to the NCAA Tournament. The 22 wins by the Bobcats marks the 11th time in school history GCSU has reached the 20-victory plateau.
The GCSU Department of Athletics, winners of the 2008-09 PBC Commissioner's Cup, sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, GCSU prides itself on balancing the life of the student-athlete, evidenced by the Bobcats' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at Twitter.com username GCSUSID for up-to-the-minute reports, and visit www.GCSUBobcats.com to nominate your favorite former Bobcats and Colonials to the GCSU Athletics Hall of Fame.


text:
"Empire Peaks" by Michael Leavitt at Jonathan Levine Gallery
Photos by G. Art by Michael Leavitt.
Two years ago, I fell in love with Seattle-based artist Michael Leavitt's work. In a show called "The Art Army Royalty" (See pictures here. Link will open in new window), Leavitt's sculptures of modern art world superstars perfectly captured the essence of each artist while transforming them into the style or work each artist is most famous for. His latest exhibit "Empire Peaks" at Jonathan Levine Gallery finds Leavitt juxtaposing Star Wars characters with celebrities and historical figures. Every single work in the exhibit is a stroke of genius.
As you can see, all of these works are brilliant. You can enjoy them without being a Star Wars fan, but if you love Star Wars, you may find yourself squealing with delight as you peruse the exhibit. What you cannot see from these photos is the extreme detail in each figure, so I urge you to see them in person. You have until December 21, 2013, so do not delay! The Jonathan Levine Gallery is located at 529 West 20th Street #9E in Manhattan.


text:
Every complaint is a gift.
And we received a few "gifts" about our breakfast last year. So come New Years, we made our resolutions about 2010 and one of them was to improve breakfast.
I'd like to welcome chef Sara Dillon to our staff. Sara comes to our little Inn with years of fancy restaurant experience. And I am pleased to tell you that she has completely re-conceived our breakfast offerings and service. Maple Creme Brulee French Toast anyone? Roasted tomato and asparagus tartlette? Sippewisset Sour Creme Pound Cake..covered with fresh blackberries? Hello! I'm picky and I will tell you, this stuff is delicious.
Add this to our already incredible local coffee (thanks Erik at "Pie in the Sky" for artisan-roasting our exclusive breakfast blend), and a charming "to-go" bag if you have to leave us in the early morning, and you have a recipe for breakfast success.
Sara is as devoted to living local as we are — she is making our Greek-style yogurt from scratch, she pioneered a WHI homemade granola that has guests sneaking into the larder for more, and she found a working gristmill in Sandwich to source locally ground corn meal. We know you will love her locavore spirit.
So rest assured, when it comes to the fantastic breakfast part of "bed and breakfast"…we have it covered! And a special thank you to every customer who nudged us toward this stellar addition to our staff.


text:
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"There are a ton of Android phones out there, many of which have their own special rooting methods or notes, and since updates are pushed out on an individual basis, we can't possibly keep up with it all. We recently combed through the guide and fixed everything we could find that was out of date, much of which due to lots of new phones getting Gingerbread."
Just in time for that new Android device you find under your Christmas tree LifeHacker has updated their Android Rooting Guide. They fixed the rooting directions for some older devices with new methods or notes where needed and they added new devices as well. If you want to root this is a great resource to use!
Copyright 2007 - Thoughts Media Inc. | Privacy Policy | Created by Creative Pattern.com


text:
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text:
Back in November, an opinion item from Jets beat writer Manish Mehta of the New York Daily News seemed to be the first salvo in a power struggle between coach Rex Ryan and G.M. Mike Tannenbaum. Now, a report from Mehta regarding Ryan's desire to be fired if changes aren't made could be the final effort by Ryan to bring the situation to a head.
Look closely at Mehta's latest item. While Ryan's desire for owner Woody Johnson to spend money seems primarily to be confined to improving players and fixing a coaching staff that Rex effed up by hiring Tony Sparano to be the offensive coordinator, Ryan's desire for change seems to sweep more broadly.
"The million-dollar question is how much dead money is Woody willing to absorb for 2013 with front office, coaches and players?" a league source familiar with the situation told Mehta.
This dovetails with Mehta's prior editorial regarding the notion that Rex bears no blame for the current M-E-S-S (mess, mess, mess) because of a dearth of talent. Though Mehta danced around the notion that Tannenbaum necessarily is the problem, the conclusion was inescapable.
It's now inescapable to conclude that Ryan wants Woody Johnson not only to buy out Sparano's contract, but also Tannenbaum's, which like Rex's has two years left.
Actually, that's a better outcome than demoting Tannenbaum and hiring a new G.M. Otherwise, the Jets would reach a new level of dyfunction, and if that dysfunction ultimately traces to a desire by Johnson to avoid paying someone for not working, he'll be paying plenty of people and nothing will be working.
The next question becomes whether Tannenbaum will respond — and whether Johnson will react. Either way, a team that continues to generate headlines for all the wrong reasons will be generating plenty more, soon.


text:
Explore Hotel
Review or change an existing reservation:
Sign in to view all reservations in your account
3-Hour Express Laundry
Introducing the 3-Hour Express Laundry, a convenient service that will allow you to have your clothes ready if you have an unforeseen mishap or an emergency.
- 8 a.m.-8 p.m. daily
Type of laundry items:
- Blouses
- Nightwear
- Pants
- Shirts
- Socks
- Sportswear
- Undergarments
- Bag up your laundry.
- Call the front desk.
- A staff member will pick up your laundry within 15 minutes.
- We will return your items fresh, clean and pressed within three hours.
- A copy of the 3-Hour Express Laundry form will be included with the laundry when returned to your room. Charges will appear on your bill at check-out.


text:
Hey kids, time to drag out those scissors and the colored construction paper once again, because there's a horse in trouble. No, not Barbaro; he's relaxing in Pennsylvania watching premium cable. This time it's City Affair, a race horse in Britain which was — get this — headbutted by jockey Paul O'Neill recently.
City Affair was being unruly in the parade ring, ultimately throwing O'Neill. The jockey got to his feet and grabbed the reins, pulling the horse to him, before lowering the butt of his helmet into it.
Yup, the video is right here. Headlines in England, of course, are all variations on a single theme: Jockey Pulls 'Zidane' On Horse. There have been other acts of inhumane treatment toward horses in O'Neill's past, according to the Daily Mail, and the jockey is to be probed. We hope with a real probe. But in the meantime, get those cards and letters in the mail to City Affair!
City Affair, you are a horse. You cannot read. These will not be read to you ...
Apologetic O'Neill facing ban for his 'Zidane' [The Daily Mail]


text: > Humans don't live a megahour MTBF. Disks damn sure don't. that's an attractive analogy, but I think it misses the fact that a disk is mostly in a steady-state. yes, there's a modest process of wear, and even some more exotic things like electromigration. but humans, by contrast, are always teetering on the edge of failure. I'm tiping back in my chair right now, courting a broken neck. I'm about to go out for my 4pm latte, which requires crossing a street. none of my disks are doing foolish and risky things like this - most of them are just sitting there, some not even spinning, most occasionally stirring themselves to glide a head across the disk. I at least, think of a seek as about as stressful as taking a breath (which is not to deny that my breaths and a disks seeks are both, eventually, going to come to an end...) one of my clusters has 96 nodes, each with a commodity disk in it. 10^6/(24*365.2425) = 114.07945862452115147242 years for each disk, and 1.18832769400542866117 years for the whole cluster. since the cluster has good cooling, and the disks not much used, I only expect about 1.2 failures per year. we're about to buy a cluster with 1536 nodes; assuming the new machineroom being built for it works out, we should expect about 1 failure per month. fortunately, I favor disk-free booting (PXE, NFS root), so even if we have 10x the failure rate, and it takes a week to replace each disk, we shouldn't have any kind of problem. another new facility will be 200TB of nearline storage. if we did it with 1.4e6 hr, 147GB SCSI disks, I'd expect to go 1022 hrs between failures. I'd prefer to use 500 GB SATA disks, even if they're 1e6 hrs, since that will let me go 2500 hours between failures (not to mention saving around 5KW of power!) regards, mark hahn.


text:
Air Cleaning
Dyson Pure Cool Link Desk Air Purifier and Fan
Keep the air around your desk purified and cool with the Dyson Pure Cool Link Desk Air Purifier and Fan.
Purify the air
The Pure Cool Link Fan is capable of automatically removing 99.95% of allergens and pollutants in the air, even those as small as 0.1 microns. This makes it an efficient choice for keeping your working area fresh.
A HEPA filtration system efficiently cleans and filters the air, removing potentially toxic fumes and odours using a layer of activated carbon granules. The oscillating design allows you to cool more of the air around you.
With no blades, the Pure Cool Link Desk Air Purifier is still capable of drawing in the surrounding air to create a powerful airflow to keep you cool in the hotter months. It makes it perfect for use as a fan when the weather is warm.
Streamlined air channels reduce airflow turbulence, making the air purifier 75% quieter than previous models, while also requiring less power.
The remote control allows you to choose from 10 different airflow settings. For added convenience, it is curved and magnetised, allowing you the option of storing it on the machine itself. Plus with the Dyson Link app, you can remotely control your environment, as well as receiving reports as the machine automatically purifies the air.
At night, the purifier uses the quietest settings and dims the LED display to ensure a comfortable night's sleep as it continue to monitor, react and purify.
Combining power, efficiency and reliability, the Dyson Pure Cool Link Desk Air Purifier and Fan is an ideal addition to your working environment.
- Air purifier & fan
- White & silver
- Dyson
Speed settings
- 10
Digital display
- Yes - LED
- Yes
Noise level
- 59 dB(A)
Remote control
- Yes
Other features
- Cooling
Box contents
- Dyson Pure Cool Link Desk Air Purifier & Fan
- Remote control
- 616 x 355 x 104 mm (H x W x D)
- 03 kg
Manufacturer's guarantee
- 2 years
Dyson Pure Hot + Cool Link Smart Air Purifier
- Purifies, heats and cools to suit conditions all year round
- Dyson Link app allows you to control the air purifier using a smartphone or tablet
- Quiet night mode uses only the quietest settings
Purifies, heats and cools to suit conditions all year round
The Pure Hot + Cool purifies the air, as well as providing heat or cooling, depending on the time of year. With Jet Focus control, you can choose between a long-range targeted airflow or a diffused mode for projecting the airflow widely around the room.
In Auto mode, the purifier will automatically monitor the air quality and adjust the air flow accordingly. This helps to keep your home fresh and comfortable all year round.
Using the thermostatic heat control, you can set the target temperature for a room which the purifier will then match and maintain.
Dyson Link app allows you to control the air purifier using a smartphone or tablet
You can monitor the air quality using the Pure Hot + Cool using your smartphone or tablet, remotely adjusting the oscillation, temperature and air quality. Reports are sent directly to the Dyson Link app, allowing you to see live local air quality metrics.
With the included remote control, it is easy to program the purifier around your day. Program it to run particular settings three times a day throughout the week.
Quiet night mode
In Night mode, the Pure Hot + Cool monitors, reacts and purifies the air while heating or cooling. To ensure that you remain undisturbed, the purifier will use only the quietest settings so that you can rest in comfort.
- Air purifier
- White & silver
- Dyson
- WiFi enabled: Yes
Control method
- iOS
- Android
Speed settings
- 10
Digital display
- Yes LED
- Yes
Noise level
- 64 dB(A)
Remote control
- Yes
Box contents
- Dyson Pure Hot + Cool Smart Portable Air Purifier
- HEPA filter x 1
- Remote control
- Instruction manual
- 632 x 222 x 112 mm (H x W x D)
Boxed dimensions
- 694 x 264 x 261 mm (H x W x D)
- 8 kg
Boxed weight
- 6 kg
Manufacturer's guarantee
- 2 years
- 1


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It's no secret that Stacy loves to alter things and she has been very busy doing that this month. Altering Wendy Vecchi Art Parts Stacy came up with this cool way to display messages complete with a little bit of cork. This project was created using the Messages line, which has lots of fun die cuts shapes that would go perfect on any message board. Don't forget to add those burlap buttons for that little touch of added embellishment.
Up next Stacy continues to share her little bit of vintage with us! This is a very special project that she created for our very own Nikki. Using the line Audrey, in honor of Nikki's grandmother, Stacy created this unique way for Nikki to display a photo of her grandmother.
So, Stacy went totally vintage with these two collections and she showed us just how versatile you can go with these Nikki Sivils, Scrapbooker collections!
Be sure to visit Stacy at her blog!


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Birds of a Feather Sessions
BIRDS OF A FEATHER SESSIONS (BOFs)
Wednesday, 9 April • 20:30-22:30 and Thursday, 10 April • 20:30- 22:30
During the conference, The BOF schedule will be updated daily and posted on the Conference at a Glance banners located on the Expo floor and near registration.
BOFs are the perfect opportunity to meet with other Apache users and developers in a casual
environment. The BOF sessions at ApacheCon are informal gatherings of persons interested
in a particular topic. Don't miss these special evening activities designed to maximize the
value of your time at the conference.
Java Search API (JSA): Towards Standardizing Java Enterprise Search
– with Uri Boness from JTeam
In the last couple of years we've witnessed search related projects like Lucene and Solr gaining huge momentum and support by users and contributors. Search has moved from being a "nice to have" feature, to playing a key role in almost every enterprise application.
This session will be an open discussion on the different aspects of integrating the different search solutions with a typical JEE application, and how/whether a standardized Java search API can assist in doing that. We would like to invite you to share your thoughts and ideas in this discussion.
20:30-21:30 • BOF and Beer
Getting the most of out of your Apache SpamAssassin Deployment – with Neil Cook
In this session, moderated by Neil Cook of Cloudmark, we will discuss how sysadmins can significantly improve SpamAssassin accuracy and performance. First, we will set forth clear definitions and metrics for both accuracy and performance so that benchmarking can be done properly. Secondly, we will discuss emerging messaging trends that can prove troublesome to standard SpamAssassin configurations, such as image, PDF, or URL redirector (e.g., blogspot.com). Then we will discuss methodologies for improving both SpamAssassin performance and accuracy in the context of today's more menacing messaging threats. We will conclude the session with a presentation from XS4ALL, the leading ISP in Holland, who will bring color to the issue by talking about their deployment. They will discuss the problems they faced with increasing spam volumes and how they were able to optimize accuracy and performance while leveraging SpamAssassin.
Apache Shindig – with Dan Peterson, Cassie Doll, Chris Chabot and John Hjelmstad
Shindig is a new project in the Apache incubator that is becoming the reference implementation for OpenSocial and gadgets infrastructure. This project aims to make it easy for a new social website to become a "container" for OpenSocial applications, and is making rapid progress. Come learn about the project's infrastructure, see a demo, and find out how to get involved. Q&A very welcome.
Eclipse-Integrated Tooling for ServiceMix – with Gerald Preissler and Andrei Shakirin
A general discussion about tools for SOA-related development in general. Which artifacts can be identified -- what tools are need to support the user when working with these artifacts -- and how can they be combined in an integrated IDE as opposed to a mixture of stand-alone tools? This BOF will include a short demonstration of some Eclipse-based tooling for ServiceMix that SOPERA has developed and that will be released as open source shortly. Join the discussion and help determine if these tools address the needs of the community, what is missing and how they could be improved. If some participants would be interested in joining a community to further the development of these tools, this would be tremendous, of course.
THURSDAY • 10 April
The Hadoop BOF – with Ajay Anand
Join the Hadoop team for an informal, lively and interactive discussion about their experiences with Hadoop from a development, as well as a production deployment perspective. Joining in the discussion will be Owen O'Malley and Allen Wittenauer. There may also be surprise guests from other organizations contributing to or using Hadoop. Audience questions and participation are invited!


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Dave Engledow is the world's best father. He even has the book to prove it. Engledow's ongoing photo series "documenting" life with his daughter Alice Bee is dangerously charming. Initiated in 2010, when Alice Bee was about six weeks old, Engledow has Photoshopped the pair into absurd, perilous, and touching scenarios. His wife Jen helps with every shoot, sometimes entering the frame.
"It's funny-my initial intent with these images was to create something a bit darker that subverted the cutesy, overly-poignant clichés you see in a lot of traditional baby portraiture. I never intended for this project to be a heartwarming, feel-good story. Ironically, what a lot of people tell me they take away from these images is the obvious love that I have for Alice Bee-people see beyond the silly, satirical character I portray in these images and instead see a father who has decided to spend his precious free-time creating something special and unique for his daughter. I guess that's pretty cool, if unintended and unexpected." (Source)
To create the images, Engledow shoots Alice Bee first, a process that can take anywhere from 10 minutes to over an hour. He then photographs himself and digitally combines the images, which takes between 5-15 hours depending on the complexity of the shot. The series first gained attention in 2013 when Kickstarter featured his campaign to turn the photos into a calendar. Confessions of the World's Best Father, the book, followed in May 2014.
"The character I portray in this series is intended to be a parody of the father I hope I never become–distracted, self-absorbed, neglectful, clueless, or even occasionally overbearing." (Source)
Part perplexed, part demented, Engledow commits to his role as bumbling dad. The result is a labor of love that captures the unique bond between father and daughter.


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by John Reuben Thompson, from the Southern Literary Messenger, November, 1849
[Poe's obituary from the magazine he once edited.]
So much has been said by the newspaper press of the country concerning this gifted child of genius, since his recent death, that our readers are already in possession of the leading incidents of his short, brilliant, erratic and unhappy career. It is quite unnecessary that we should recount them in this place. We feel it due to the dead, however, as editor of a magazine which owes its earliest celebrity to his efforts, that some recognition of his talent, on the part of the Messenger, should mingle with the general apotheosis which just now enrols him on the list of "heroes in history and gods in song."
Mr. Poe became connected with the Messenger during the first year of its existence. He was commended to the favorable consideration of the proprietor, the late T. W. White, by the Honorable John P. Kennedy who, as Chairman of a Committee, had just awarded to Poe the prize for the successful tale in a literary competition at Baltimore. Under his editorial management the work soon became well-known every where. Perhaps no similar enterprise ever prospered so largely in its inception, and we doubt if any, in the same length of time--even Blackwood in the days of Dr. Maginn, whom Poe in some respects closely resembled--ever published so many shining articles from the same pen. Those who will turn to the first two volumes of the Messenger will be struck with the number and variety of his contributions. On one page may be found some lyric cadence, plaintive and inexpressibly sweet, the earliest vibrations of those chords which have since thrilled with so many wild and wondrous harmonies. On another some strange story of the German school, akin to the most fanciful legends of the Rhine, fascinates and astonishes the reader with the verisimilitude of its improbabilities. But it was in the editorial department of the magazine that his power was most conspicuously displayed. There he appeared as the critic, not always impartial, it may be, in the distribution of his praises, or correct in the positions he assumed, but ever merciless to the unlucky author who offended by a dull book. A blunder in this respect he considered worse than a crime, and visited it with corresponding rigor. Among the nascent novelists and newly fledged poetasters of fifteen years ago he came down "like a Visigoth marching on Rome." No elegant imbecile or conceited pedant, no matter whether he made his avatar under the auspices of a Society, or with the prestige of a degree, but felt the lash of his severity. Baccalaurei baculo potius quam laureo digni was the principle of his action in such cases, and to the last he continued to castigate impudent aspirants for the bays. Now that he is gone, the vast multitude of blockheads may breathe again, and we can imagine that we hear the shade of the departed crying out to them, in the epitaph designed for Robespierre,
Passant! ne plains point mon sort, Si je vivais, tu serais mort!
We translate it freely,
Traveller! forbear to mourn my lot,
Thou would'st have died, if I had not.
It will readily occur to the reader that such a course, while it gained subscribers to the review, was not well calculated to gain friends for the reviewer. And so Mr. Poe found it, for during the two years of his connection with the Messenger, he contrived to attach to himself animosities of the most enduring kind. It was the fashion with a large class to decry his literary pretensions, as poet and romancer and scholar, to represent him as one who possessed little else than
th' extravagancy
And crazy ribaldry of fancy--
and to challenge his finest efforts with a chilling cui bono; while the critics of otherlands and other tongues, the Athenaeum and the Revue des deux Mondes, were warmly recognizing his high claims. They did not appreciate him. To the envious obscure. he might not indeed seem entitled to the first literary honors, for he was versed in a more profound learning and skilled in a more lofty minstrelsy, scholar by virtue of a larger erudition and poet by the transmission of a diviner spark.
Unquestionably he was a man of great genius. Among the litterateurs of his day he stands out distinctively as an original writer and thinker. In nothing did he conform to established custom. Conventionality he condemned. Thus his writings admit of no classification. And yet in his most eccentric vagaries he was always cor rect. The fastidious reader may look in vain, even among his earlier poems--where " wild words wander here and there"--for an offence against rhetorical propriety. He did not easily pardon solecisms in others; he committed none himself. It is remarkable too that a mind so prone to unrestrained imaginings should be capable of analytic investigation or studious research. Yet few excelled Mr. Poe in power of analysis or patient application. Such are the contradictions of the human intellect. He was an impersonated antithesis.
The regret has been often expressed that Mr. Poe did not bring his singular capacity to bear on subjects nearer ordinary life and of a more cheerful nature than the gloomy incidents of his tales and sketches. P. P. Cooke, (the accomplished author of the Froissart Ballads, who, we predict, will one day take, by common consent, his rightful high position in American letters,) in a discriminating essay on the genius of Poe, published in this magazine for January, 1848, remarks upon this point,
"For my individual part, having the seventy or more tales, analytic, mystic, grotesque, arabesque, always wonderful, often great, which his industry and fertility have already given us, I would like to read one cheerful book made by his invention, with little or no aid from its twin brother imagination ——a book in his admirable style of full, minute, never tedious narrative-a book full of homely doings, of successful toils, of ingenious shifts and contrivances, of ruddy firesides a book happy and healthy throughout, and with no poetry in it at all anywhere, except a good old English 'poetic justice' in the end."
That such a work would have greatly enhanced Mr. Poe's reputation with the million, we think, will scarcely be disputed. But it could not be. Mr. Poe was not the man to have produced a home-book. He had little of the domestic feeling and his thoughts were ever wandering. He was either in criticism or in the clouds, by turns a disciplinarian and a dreamer. And in his dreams, what visions came to him, may be gathered to some extent from the revealings he has given--visions wherein his fancy would stray off upon some new Walpurgis, or descend into the dark realms of the Inferno, and where occasionally, through the impenetrable gloom, the supernal beauty of Lenore would burst upon his sight, as did the glorified Beatrice on the rapt gaze of the Italian master.
The poems of Mr. Poe are remarkable above all other characteristics, for the exceeding melody of the versification. "Ulalume" might be cited as a happy instance of this quality, but we prefer to quote "The Bells" from the last number of the Union Magazine. It was the design of the author, as he himself told us, to express in language the exact sounds of bells to the ear. He has succeeded, we think, far better than Southey, who attempted a similar feat, to tell us "how the waters come down at Lodore"....
The untimely death of Mr. Poe occasioned a very general feeling of regret, although little genuine sorrow was called forth by it, out of the narrow circle of his relatives. We have received, in our private correspondence, from various quarters of the Union, warm tributes to his talent, some of which we take the liberty of quoting, though not designed for publication. A friend in the country writes--
"Many who deem themselves perfect critics talk of the want of moral in the writings and particularly the poetry of Poe. They would have every one to write like AEsop, with the moral distinctly drawn at the end to prevent mistake. Such men would object to the meteor, or the lightning's flash, because it lasts only for the moment--and yet they speak the power of God, and fill our minds with the sublime more readily than does the enduring sunlight. It is thus with the writings of Poe. Every moment there comes across the darkness of his style a flash of that spirit which is not of earth. You cannot analyze the feeling--you cannot tell in what the beauty of a particular passage consists; and yet you feel that deep pathos which only genius can incite-- you feel the trembling of that melancholy chord which fills the soul with pleasant mournfulness-- you feel that deep yearning for something brighter and better than this world can give--that unutterable gushing of the heart which springs up at the touch of the enchanter, as poured the stream from
'Horeb's rock, beneath the prophet's hand.'
I wish I could convey to you the impression which the 'Raven' has made upon me. I had read it hastily in times gone by without appreciation; but now it is a study to me--as I go along like Sinbad in the Valley of Diamonds, I find a new jewel at every step. The beautiful rhythm, the mournful cadence, still ring in the ear for hours after a perusal--whilst the heart is bowed down by the outpourings of a soul made desolate not alone by disappointed love, but by the crushing of every hope, and every aspiration."
In a recent letter the following noble acknowledgement is made by the first of American poets--Henry W. Longfellow--towards whom, it must be said, Mr. Poe did not always act with justice. Mr. Longfellow will pardon us, we trust, for publishing what was intended as a private communication. The passage evidences a magnanimity which belongs only to great minds.
"What a melancholy death," says Mr. Longfellow, "is that of Mr. Poe--a man so richly endowed with genius! I never knew him personally, but have always entertained a high appreciation of his powers as a prose-writer and a poet. His prose is remarkably vigorous, direct and yet affluent; and his verse has a particular charm of melody, an atmosphere of true poetry about it, which is very winning. The harshness of his criticisms, I have never attributed to anything but the irritation of a sensitive nature, chafed by some indefinite sense of wrong."
It was not until within two years past that we ever met Mr. Poe, but during that time, and especially for two or three months previous to his death, we saw him very often. When in Richmond, he made the office of the Messenger a place of frequent resort. His conversation was always attractive, and at times very brilliant. Among modern authors his favorite was Tennyson, and he delighted to recite from "The Princess" the song "Tears, idle tears;" a fragment of which
--when unto dying eyes
The casement slowly grows a glimmering square,--
he pronounced unsurpassed by any image expressed in writing....
In what we have said of Mr. Poe, we have been considering only the brighter side of the picture. That he had many and sad infirmities cannot be questioned. Over these we would throw in charity the mantle of forgetfulness. The grave has come between our perception and his errors, and we pass them over in silence. They found indeed a mournful expiation in his alienated friendships and his early death.


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[SURVEY] Social Business Maturity Assessment in the Middle East
As part of the effort to define what are the various stages of social business maturity in the Middle East region, we're collecting your insights and data to better understand the market. We'll be publishing the results in a consolidated free downloadable report on the Social Media Hub Middle East LinkedIn group.
So, thank you for taking the time to fill out our survey.


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The City of Port Moody is a growing community of 33,000 residents located 30 minutes east of downtown Vancouver at the head of the Burrard Inlet and just steps from seaside parks and, mountain trails and lakes. To achieve our mission of providing services that enhance the quality of life for all of our residents, we are hoping that you are interested in a career with us.
Port Moody was voted one of the most livable cities in the world. This was made possible by a team of professional, energetic and diligent employees. Each employee's performance plays a key role in developing and maintaining the high quality services we provide to the community.
In your first few days and weeks with us, you will experience an environment where people count, supervisors shows their appreciation and where open communication is more than mere words. At the City, unions are seen as partners and people care for one and other. This is a fun place to work and you will be encouraged to develop with us!
Find out more about joining our team.
City of Port Moody. All Rights Reserved. Created by Vision Internet


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Artist: FEATURE WALLS, Photographer: Tom Andrzejak
Producer: PPS. Imaging GmbH
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A one-man blockade could only slow passage of a bill that would regulate the state's animal breeders in a bid to crack down on "puppy mills."
The bill, which was passed by a vote of 95-44, would provide the statewide standards for care and comfort of animals in breeding facilities. Animal rights advocates have complained that the lack of such standards in Texas have led to abuse of animals in breeding facilities.
"This bill is not imposing anything more than the humane treatment of animals and it is a protection for the consumer," said Rep. Senfronia Thompson, D-Houston, who authored the bill.
The bill would demand that breeders maintain living standards for the animals in their care — such as requiring that animals used for breeding be seen by a veterinarian at least once a year, that kennels holding the animals not be stacked on top of each other to prevent feces and urine from dogs in the top kennels from falling into lower kennels and that animals have enough space in their kennels to move around and lie down.
Only Rep. David Simpson rose to speak against the bill. He said that he doubted the bill would be able to effectively crack down on breeders who treat animals badly.
"It will really establish, and I don't mean to be funny, a dog Gestapo," said Simpson, who remarked that he favored stricter enforcement of existing law. "I fear we're moving in the direction of DC; we're regulating light bulbs and toilets and now we're going to establish the pet police. "
Dog breeders who were in the House gallery spoke out against passage and said they were encouraged by the 44 votes against the bill.
"In the state of Texas, dogs are personal property," said Beth Turner, who breeds dogs in Boerne. "They are slowly but surely taking away your personal property rights."
She concurred with Simpson's assessment that the problem could be fixed with more rigorous enforcement of existing law.
"It's not going to do anything to improve the lives of the dogs."
Thompson's legislation received broad bipartisan support that had placed it on a legislative fast track for non-controversial legislation in the House on Thursday.
However, passage was slowed on Thursday by the continued objections from Rep. Simpson, a freshman Republican lawmakers, who knoced the bill off one of the House's legislative fast tracks.
Defending his action, Simpson gave a speech on the House floor that questioned the integrity of Thomson, one of the longest serving members in the House.
Senior House Republicans swiftly condemned Simpson's remarks and House leadership put the "puppy mill" bill on another legislative fast track and was brought back up for a vote on Tuesday.
There has been a Republican backlash against Simpson for the way he's gone about challenging the "puppy mill" bill.
"Around here, relationships are very important, so if you don't care about relationships then go and do your stuff as public as you want to," said House Energy Resources Chairman Rep. Jim Keffer, R-Eastland.


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It looks like your browser is out of date.
To use all features of KLM.com safely, we recommend that you update your browser, or that you choose a different one. Continuing with this version may result in parts of the website not being displayed properly, if at all. Also, the security of your personal information is better safeguarded with an updated browser.
The impressive building on the Plaza de la Revolución was once the Presidential Palace of Cuba. It now houses the Museo de la Revolución. The palace, which has a turbulent past, was world news in 1957 when a group of students rose up in rebellion against the former regime.
The Museum of the Revolution is dedicated both to the Cuban Revolution and the history of Cuba in general. The building alone is worth a visit: the exuberantly decorated interior and impressive architecture are fabulous, demonstrating the power of the country's leaders. The museum itself first and foremost sheds light on the cause of the revolution, even though the facts presented are probably somewhat one-sided.
The Cuban Revolution began in 1952 after the ex-sergeant and former president Fulgencio Batista seized power. Many Cubans were furious about this coup d'état, among them the young Fidel Castro who immediately made plans to overthrow Batista and start a Marxist movement, the 26th of July Movement. After a failed attack in 1953, Castro and his rebels were rounded up and imprisoned. International criticism of Batista's dictatorship continued to increase. To meet the demands of the global community, Batista released the political prisoners in 1955. Castro and his followers fled to Mexico, where they made further plans to dispel Batista. Among those rebels were Che Guevara and Camilo Cienfuegos.
In the meantime, the revolution in Cuba continued unabated, the absolute milestone being the storming of the Presidential Palace by a group of students on 13 March 1957. The rebellion was struck down with much bloodshed and virtually all of the demonstrators were killed, an event that shocked the entire world. At the end of 1958, Batista could no longer carry on and, during the night of 1 January 1959, he fled Cuba. One day later, Guevara and Cienfuegos marched into Havana. Castro took longer because he celebrated his victory enthusiastically and spoke to large masses of frenzied Cubans in every city and village along his way. He did not arrive in the Cuban capital until 8 March 1959.
Starting at the top floor of the museum, you slowly delve into Cuban history, from the pre-Columbian era to the current social regime, naturally with the customary propaganda. The lovely Salón de los Espejos (Hall of Mirrors) was designed in imitation of the hall of the same name at the Palace of Versailles. A must-see is the 'Granma', the boat used by Fidel Castro and 81 soldiers when he returned in 1956 from hiding in Túxpan, Mexico. The boat is displayed as a monument in a small space behind the museum and guarded 24 hours a day.
Museo de la Revolución, 1 Calle de Refugio, Havana


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31-year-old Hal Koerner from Ashland, OR, led from the start to win the 2007 Western States in 16:12:16 this evening in unusually optimal weather. Eric Skaden was second (second year in a row) in 16:36:11, and last year's winner Graham Cooper finished third in 17:11:41. Andy Jones-Wilkins was just a few minutes behind to finish fourth in 17:20:29. Glen Redpath from Brooklyn, NY, won the Master's Division with his 6th place finish (18:05:33), earning yet another top 10 return invitation.
Nikki Kimball from Bozeman, MT, added another States win to her roster by finishing in 18:12:38.
Some of the top contenders had a tough day. Brian Morrison dropped at Dusty Corners (mile 38), Greg Crowther dropped at Foresthill (mile 62), and Korea's Jae-duk Sim slipped out of the top 10 after being in the top 6 for most of the race. I guess you never know...
The race is still going at the time of this post (keep going everyone!), but I've got to hit the sack. You can get the latest updates at the WS100 Webcast here, and soon after can get video at the YouTube site here.
Scott Dunlap's blog of trail running, ultrarunning, triathlon, and other life adventures. I enjoy the physical, emotional, and spiritual journey of outdoor events and the chance to meet cool people. This blog contains interviews, research, original fiction, new product ideas, and all things trail running.
Saturday, June 23, 2007
Hal Koerner and Nikki Kimball Win 2007 Western States
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