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Shoulder/Rib Pads
From small liners to the ultimate protection.
BRINE LoPro Shoulder Pad
Regular Price: $60.00
Special Price: $9.99
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Low profile design naturally hugs the body.
Compression molded padding offers protection without compromising mobility. Learn More
Brine Uprising Shoulder Pad$42.00
Rise to the top with this New design
Sleek shoulder cap design for increased protection without limiting flexibility
Internal plate system in high-impact zones
Dual density foam
Torso configuration designed for developing players
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Easton Stealth Shoulder Pad$117.00
* Low profile design with high-density foam impact protection in critical regions
* Split shoulder cap design allows for maximum range of motion for player's shoulders and arms
* Removable upper arm pad to protect gaps between arm pad and shoulder joint
* Airflow Release Channel (ARC)™ technology creates interior ventilation, optimizing the release of body heat
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GAIT- ProLite Pad Kit$72.00
Complete kit for starting youth players.
Includes Shoulder Pads, Arm Pads and Gloves Learn More
Maverik Bad Boy Shoulder Pads$55.00
The lightweight construction means your youth player will be able to move about freely and comfortably.
Full-coverage shock-absorbing caps offer ultimate protection.
Added sternum and spine protection to deflect checks and shots and keep you in the game. Learn More
Maverik Charger Shoulder Pads$55.00
Maverik Charger Shoulder Pads
Great protection for that lacrosse newby
neck padding for comfort
adjustable straps for a great fit
XS-M Learn More
Maverik Maybach Deuce Shoulder Pad$109.00
Maybach Deuce Shoulder Pad
This brand new MAVERIK innovation contours to your body like no other pad on the market.
• Ergonomically designed to create realfeel
• DuraStretch technology offers protection and creates more channels for air flow
• Interior raised padding lining to minimize touch points on the skin.
• Adjustable collar bone protection for customized fit
• Straps don't dangle so you can put your gear on yourself – because a real MAVERIK doesn't need help dressing
. Learn More
Maverik Rome NXT Shoulder Pads$139.00
Maverik Rome NXT Shoulder Pads
Pushes the limit of protection and innovation, takes the beating and keeps you moving
Shark Gel
Durastretch Learn More
Maverik Rome Shoulder Pads$139.00
Out of stock
Maverik Rome Shoulder Pads
Like the rest of the Rome line, the Rome Shoulder Pad is the peak of Maverik innovation, design and player insight.
By far our lightest, toughest, most formfitting shoulder pad, the Rome features DuraStretch fibers for unrestricted flex and airflow while XFoam provides armor-like protection without adding weight.
It's all-field performance to the Maximus.
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Maverik Rome Speed Shoulder Pads$109.00
Out of stock
Rome Speed Pad
The Rome Speed Pad gives you every innovation in the Maverik playbook without making you feel like you're lugging it all at once.
With a slimmed down design, the Rome lets you charge the field freely and fearlessly, knowing you've got the ultimate weapon on your side—speed.
And while power is important, speed kills.
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Maverik Wonderboy Shoulder Pads$100.00
Maverik Wonderboy Shoulder Pads
Great protection without the bulkiness Learn More
Player SS Shoulder Pad Liner$69.99
Under Armour 2T2 Lacrosse
Player SS Shoulder Pad Liner
- "Molded Skin" Technology for reduced weight and improved flexibility
- HeatGear® Liner Technology moves moisture away from skin
- High impact triple density foam for added protection and reduced weight
- Low profile ultra-thin design reduces bulk
- Fully adjustable straps allows for improved fit and flexibility
Learn More
Player SS Shoulder Pads$89.99
Under Armour 2T2 Lacrosse
Player SS Shoulder Pads
- Performance driven, low profile design offers protection, where needed, while offering unmatched flexibility
- "Molded Skin" Technology for reduced weight and improved flexibility
- HeatGear® Liner Technology moves moisture away from skin
- High impact triple density foam for added protection and reduced weight
- Fully adjustable straps allow for improved fit and flexibility
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REEBOK 3K Shoulder Pad$33.00
Quite possibly the best deal on the market.
One of the only beginner pads with a solid plastic chest piece.
Great protection for a new player.
XS - 4'5" - 4'11"Learn More
STX Assault Shoulder Pads$182.00
The next generation of High Def™ padding
- High Def™ Polymer doesn't soak up rain or sweat – keeps pad ultra-lightweight throughout the game
- New multi-dimension design provides freedom of movement and enhanced upward mobility
- Moisture-wicking mesh liner for unmatched comfort
- No stink! High Def™ Polymer naturally defends against odors
- Adjustable/removable bicep pads
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STX Cell II Shoulder Pad Liner
Regular Price: $89.00
Special Price: $53.40
* Low profile design keeps pad lightweight and extremely flexible
* Simplified design includes fewer parts allowing player to focus on his game not gear
* Combines unique textures and materials for a high performance look
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STX Cell III Shoulder Pad$120.00
isoBLOX™ technology delivers protection and complete range-of-motion along chest, back and shoulders
Low profile shoulder cap design built with isoBLOX™ for added flexibility
Adjustable/removable bicep pads
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STX Rival Rib Pads
Regular Price: $30.00
Special Price: $20.00
Wraparound contoured coverage for hips, ribs and spine protection. Designed to protect without restricting movement. Learn More
STX Rival Shoulder Pads - Large$39.00
Minimal bulk, maximum coverage, excellent mobility
Dual layer coverage in collar bone, sternum and shoulder zones
STX AirZone designed for added chest protection
Compression molded PE shoulder caps and chest overlay
Adjustable/removable bicep pads
Quick-release buckle and strap system keeps pad in place
AEGIS microbe shield protects against odors
LARGE ONLY Learn More
STX Shadow Shoulder Pads$150.00
Out of stock
* Low profile design provides maximum freedom of movement.
* Adjustable shoulder caps for precision fit.
* Stretch zones allow the upper body to move freely.
* Removable upper deltoid pads use spandex sleeve for improved comfort and fit.
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STX Stinger Shoulder Pad$41.00 As low as: $36.00
* Still the starter shoulder pad of choice *
* High impact molded shoulder caps prevent against checks
* Durable polyester shell construction for multi-season play
* Super soft liner feels comfortable and wicks away moisture
Learn More
Under Armour Player Shoulder Pad - 2T2
Regular Price: $109.99
Special Price: $89.99
* Features, new revolutionary "Molded Skin" technology for reduced weight and improved flexibility
* "Heat Gear® Liner Technology" moves moisture away from skin
* High impact triple density foam provides unmatched protection at a reduced weight
* Ultra Thin design reduces bulk
* Floating shoulder cap increases flexibility and comfort
* Fully adjustable straps allows improved fit and flexibility
Learn More
Under Armour Player Shoulder Pad Liner - 2T2
Regular Price: $79.99
Special Price: $59.99
Floating shoulder cap increases flexibility and comfort.
High impact triple density foam provides unmatched protection at a reduced weight.
Ultra thin design reduces bulk.
Learn More
Under Armour Spectre Shoulder Pad - 2T2$49.99
Floating shoulder increases flexibility and comfort.
Fully adjustable straps allow for improved fit and flexibility.
"HeatGear® Liner Technology" moves moisture away from the skin.
Learn More


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A redrawn congressional district made more Democratic by the removal of heavily Republican areas in San Diego gave Scott Peters an opening to oust three-term GOP incumbent Brian Bilbray. Peters self-financed his campaign with more than $1 million and was one of the Democratic Congressional Campaign Committee's top "Red to Blue" candidates for picking up Republican-leaning seats.
Peters is the son of a Lutheran minister who fought against redlining in Detroit in the 1960s, when African-Americans and Jews were prevented from buying homes in some neighborhoods. After a threat against his family sparked a police chief to suggest his father take them out of town for a week, Peters went on his first plane ride—a trip to Washington—at around age 8. He was "kind of taken by it," and got a book on the presidents and memorized their names in order, Peters said in an interview. At age 14, while the family was briefly living in Chicago, Peters had his first taste of politics campaigning for Democrat George McGovern's unsuccessful 1972 presidential race.
He studied political science and economics at Duke. Peters, who was labeled an out-of-touch millionaire during his primary race, cited as one example of his modest roots his $2.55-an-hour college job cleaning pigeon cages for the psychology department. He went on to graduate from New York University's law school.
His wife, Lynn Gorguze, forged a successful career in private equity, and her work brought them to San Diego in 1988. Peters had a wide-ranging, 16-year career as a lawyer in which he handled environmental regulation, corporate taxes, and litigation at various firms; served as a deputy county counsel; and opened his own private practice before being elected to the San Diego City Council in 2000.
During two back-to-back terms on the council—the last three years as president—Peters worked on issues including reducing sewage spills, completing highway projects, redeveloping neighborhoods to make them more walkable, boosting jobs with support for a downtown ballpark, and creating the city's first ethics commission.
A self-proclaimed environmentalist, Peters has been a San Diego port commissioner since 2009, and also served as a California coastal commissioner. He was criticized during his council tenure for personal water bills that showed his household's rate of consumption as nearly eight times the average resident's while he publicly pushed water conservation. Peters argued that his property is large, and that he and his wife corrected the situation by consolidating the tropical plants, which require the most water, and installing a high-tech sprinkler system with moisture sensors.
Jumping into the 52nd District race, Peters endured a bruising primary battle against Lori Saldana, a former state Assembly member. She drew support from a left-leaning coalition of environmentalists and other liberal activists, but Peters snagged endorsements from a host of local Democratic officials, including outgoing 51st District Democratic Rep. Bob Filner, a liberal firebrand. Despite outspending her by 5-to-1, he eked out a victory by just 700 votes.
Running against Bilbray, Peters found himself on the defensive against GOP attacks that he underfunded public-employee pensions during his tenure on the council, something that had marred his unsuccessful race for city attorney in 2009. He responded by accusing Bilbray of talking as a moderate while voting as a conservative, and he regularly touted his desire not to be bound by ideology. "I'm just not a purist. You set goals and you have to work with everyone to figure out how to get what you can," he said.
Stacy Kaper contributed to this article.


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Hi there,
My ds just turned 4 in Dec. Everyone keeps asking me if he is starting school next year and warning me that I better sign him up now. I have read literature stating that boys with late birthdays do tend to struggle in kindergarten and that that can lead to a negative association with school. I am a sahm and ds has always been with me. He goes to preschool twice a week for 2 hours and already that is a lot for him. Every week I have to pep talk him that he is safe and will have fun and that I will be right back to pick him up....needless to say full time kindergarten seems pretty daunting to me. I am ok with holding him back a year. WDYT?? Any moms out there with tips, advice, feedback??
Look at the School Age Guideline for being this old by this certain date because many schools say a Child has to be 5 before this certain date which usually they have to be 5 around a time in August/September .
So more likely your son would have to wait until he's almost 6 to attend kindergarten.
That's the way for my son's cousins who had birthdays in September and October.
SAHMlovin' to DD 10/00 & DS 10/04 If your son is intact, keep him safe, visit the Intact Care forum Circ, a personal choice, Your SONS 11/98 6/99 Thyroid cancer survivor. With 5 & 2 Boxers wishing for
Yeah, it's going to depend on your district's cut off date. Ours is September first, so your son would not be old enough for kindergarten next year. He would start when he was already five and then turn six during that school year. If your cut off date is Aug/Sept, then a December birthday is a good one, imo!
My DS's have birthdays in Feb./March, so they were 5.5 when starting Kindergarten, and it worked out well.
As others have said, many places have cut off dates well before December, so your DS many not be eligible for K next year. You school district probably has a website that will give you cut off dates and info about registering.
If your DS is eligible next year, then I would send him. here's a very informative article on the subject.
You can also search the forum for "redshirt" or "redshirting" to see a lot more on this.
Around here it would be your choice. He would make the cutoff as long as he will be 5 by December.
It doesnt sound like he is ready
The advantage of extra time (imo) is the best way to go.
I always feel sorry for the 4 year olds in kindergarten. I was one of them and I feel that it really damaged my social life in school. I was always one step behind the other kids in understanding what was going on. I feel that 4 is still too toddlerish to have to deal with kindergarten, especially if it's a full day.
I'd probably hold him back too if it ends up being your choice.
My oldest started at 5.5 (March bday) and he's one of the youngest in his class. There were several boys held back to repeat kindy so they're an entire year older.
My now 4 year old will turn 5 and June and will go this fall. I think he's ready, his preschool teacher thinks he's ready and he definitely feels like he's ready. :) We'll see what the kindergarten screening says.
Original poster looks like she is in Canada!
Their system is different than the US and a child must be 5 by Dec31st so the OP child is age eligible for K. I dont know if it is all day or not, but they may also have different standards, given that a large percentage of students may still be 4 when the school year starts.
My oldest was 5.5 when he started kindergarten (January bday) and was not ready. I pulled him out after the first grading period and loosely homeschooled. He started 1st grade at 6.5 and did great.
My second just turned 5 in December and is in all-day kindergarten. He is highly gifted and wanted to go. He does not meet the cut-off but got early admission. If anything, he'll need to skip another grade.
So based on my kids who started at 5.5 (not ready) and 4.5 (ready), I'd just have to tell you it depends entirely on the kid. I think all-day kindergarten would be too much for most 4.5 yr. old boys. I think half-day would be okay for many 4.5 yr. olds. Some kids won't be ready at 5 or 5.5. My son's K class is mostly 6-6.5 now.
Also, you can always try it and pull him out if it doesn't work out.
Our cutoff for Kindergarten was 5 years old by October 1st. DS's birthday was October 3rd so he missed the cutoff. So ds was 5 years 10 months when he started Kindergarten. I think he was probably one of the oldest kids in his class, but he really needed that extra time to mature.
Steph, DH Jason (1-1-11), DS Owen (10-3-03) and DS Kai (10-13-11)
Yes, OP is in Canada. As far as I know everywhere except here in Quebec it's a Dec 31 cutoff. I don't imagine she'd be asking unless her ds was eligible for K in the fall.
OP I'm kind of having the opposite problem. Here the cut-off is Sept 30. Ds's b-day is Oct 3. Dh is happy that he'll be the oldest in his class (per what you've been reading and hearing), but I'm worried that he'll be bored turning 6 at the beginning of K. My dd is on the other end of the spectrum (youngest in the class - Sept 16 b-day), and she just turned 6 at the beginning of grade 1. She was more than ready to do this grade level of work at this age. I think she'd be going nuts sitting in a classroom learning K material (letter sounds, counting, etc). That said, I do have similar concerns to you on the social level. My ds hasn't even had the 4 hrs of preschool a wk that yours has - he's always been at home with us. I'm not sure what kind of transition it'll be for him (dd was also never in daycare or preschool and it was a rough adjustment for the first month or so of school). That said, I did just read somewhere that most daycare providers and preschool teachers suggest that it's actually MORE difficult for kids to go fewer than 3 half-days to school as it's just too much time away that they are constantly transitioning and never get "used" to it, iykwim. You may find that your ds finds it even easier being at school more days a week for that reason. Do you have the option of half-day K?
Kate, mom to 7 year old Djuna and 4 yr old Alden. Missing our good friend Hal the cat who died June 2, 2010
My son will be 5.5 (Feb b-day) when he starts this year.
My DS started kindergarten six weeks after his fifth birthday. It was a hard year for him since he really wasn't ready (although he did fine in preschool.) He's repeating kindergarten this year and it's like night and day. He's having a great year.
Hi, fellow Canadian here,
I held my Dec 21st boy back. I didn't put him in JK, sent him to SK when he should have been entering grade one.
So many people said that I couldn't/shouldn't hold him back. But I knew that my son needed more time.
The principal was thrown for a loop, but I was calm in my dealings because I knew that he was too young. Not just because he was a boy, but because of his temperament (very very shy, emotionally immature). I knew that the school wanted my son at their school (as they are always dealing with low enrolment and the possibility of having the school closed over the low numbers) and I knew that I could homeschool him if they insisted he start in grade one.
He is now in grade 6 and I do NOT regret my decision at all. He does well in school, he has to work hard but he does not struggle as I knew he would if he was in his "proper" year. Socially he does well, he is still a young 12 year old and when I see the differences physically in the 13 year old boys in his supposed grade I am so glad he is in the younger grade.
That said, I have seen other boys who are end of year babies, and they do just fine in their year.
Red shirting (which I had never heard of prior to mothering.com discussions) seems to be when you want to give your child a leg up. There's a huge difference between not wanting your child to suffer through school vs be the best in their class.
Follow your instincts, you know your child the best, he might be just fine with extra support, or he may need to wait another year till he is ready. Please do not listen to those who insist you are not able to do what is best for your child.
Best of luck with your decision,
Mine has a late October bday. Around here, the cutoff is 10/1 so he was 5 about to turn 6. I think it worked out well for him.
I tried sending ds to half day pre-k when he had just turned 4 (by a week or so) because I thought full day k would be too big of a first step. It's really the only parenting decision I regret. We gave it a serious go, but ended up withdrawing him and homeschooling. Looking back, he would have had a much better chance of adjusting more easily to school if I had held him back a year. He was intellectually ready but 5 half days a week was too much for him at 4 yo and 5 full days would certainly have been too much at 5 yo. I'd hold your ds back in your situation. If he was loving preschool and asking for more, I'd consider it. But he isn't so give him more time. An extra year can make such a huge difference.
DS will be 4.5 when he starts Junior Kindergarten - so he'll be right in the middle of the pack. I'm glad for that.
FWIW, in some school districts around here, you can't red-shirt. Or more specifically, you can hold your child out of, say, junior kindergarten because you feel they're not ready, but next year they'll go into Senior Kindergarten, not Junior. It depends on policy, and probably more likely, the principal. So you'll need to check with your intended school.
Fellow Canadian here, with a boy who has a December birthday. :)
We're in Ontario, so my son just turned 4 in December and is already IN kindergarten (JK). My partner and I had many a long talk in the months leading up to kindergarten registration as to whether we were going to have our son start at 3.5. With the move to all-day, every day kindergarten for 4 and 5 year olds in Ontario, we decided that if our school was on the list for all-day, every day kindergarten for 2010, we'd hold him back. In the end, our school is only moving to all-day, every day kindergarten in Sept 2011, so we did register him.
Our son's school is on an all-day, alternate day schedule for kindergarten this year. He goes 8:30am to 3pm Monday, Wednesday, and every other Friday. Was it a difficult transition for him? Honestly, yes. We had decided prior to the start of the school year that we were going to give it an honest try and that if he was still having difficulties come Christmas, we'd pull him out for the rest of the year and have him go into SK this fall. September and October were tough, but come November and December, he has really been loving it. He is the youngest in his class, and it does show some in his maturity level (though there are older kids who have many of the same issues), but he is ahead academically and more on-par with those in the SK section of his JK/SK split.
You know your child best. If I were you, I would see if you can tour the school/attend kindergarten orientation and see how the school works. If you get a good vibe and think it would be a good fir for your son, it wouldn't hurt to try. You can always withdraw him if you see it isn't working, but you might be pleasantly surprised at how he adapts. I know that we were.
In Canada it can vary by province, but also school district. Our district had a Feb 28th cut off, so all chidlren would be 4.5 to 5.5 when they enter in sept, but most people that I know with Jan and Feb births waited until the folowing year. We waited with our son ( Jan birth)so he was 5.5, there were a lot of boys in his class that turned 6 that Jan. A few turned 5 in nov and dec. Not sorry at all we waited the extra year. Most people I talked to (before we made the decision) waited with jan and feb births, and the 2 moms I new who didnt', regretted it. ( one by the end of grade 1, one with an older son grade 3/4). I think my child is doing much better being one of the oldest in the class, rather than one of the youngest, and in some kids more than a year younger. I also have a march birthdya so he can't enter until 5.5, so I thought it would be unfair to start 1 child at 4.5 and 1 at 5.5,making them 3 years apart in school, when they are only 2 year and 5 weeks apart in age.
IF my ds goes to public school (I want to homeschool, but it might not work out), then he will start right after he turns 5. He is super smart though and doing kindergarden work now, and he is only 3.
I would assess him (or have the schools do it) closer to registration. A lot can change in a year.
I woudl talk to the teachers, visit the school, etc.
You know your son- his strengths and weaknesses. It will vary by child and can change quickly.
I would have sent both my DD at 4.8 yrs if I could (could not due to cut off dates). K here is very very academic (which is fine our case) and has a LOT of writing. A child that just wants to play play play and is not interested in writing/reading/math and/or can not sit through a 5-10 minute lesson and a 20 min or so circle time would be best off waiting.
Our K teachers stress the following on readiness skills:
child can attend in a group for 10 min at least, child can follow directions fairly independently, child has age appropriate self care skills (put on coat, potty, etc), child can wait turn , child understands basic rules/concequences/routines, ability to attend to a task independently for at least 5 minutes
The rest they can teach (numbers/letters/names/etc). But the ultimate determining factor for success that we have been told by our K teacher (I taught in a K-5 building) is age appropriate attention span, ability to take turns, ability to follow directions, and ability to switch activities smoothly. Most of this is emotional maturity and some kids are just *not ready* to attend to things they just want to play and are not interested in learning to read/write and/or have not developed the attention span to attend to a short lesson and be able to apply it.
Determine your registration timeline and then take it from there. Some boys do great/ others need more time. It has more to do with maturity/personality than 'exact' age- you will find older kids that struggle and young kids that do fine.
Does your area have a summer 'intro' program for rising K kids? A K round-up? An open house? All those would be good activitites to help determine what to do.
Also-- you can repeat K or homeschool K. Really- what you decide now does not have to be a whole year if it does not work out. Some kids adjust well and others need to regroup at home. Still others flourish and really do better than expected. There is no way to know- my suggestion would be to have a chat with the school K teachers, get a clear understanding of what is expected of K students, and then possible have him observed/evaluated for readiness. Then use your beset judgement and know that if it does not work out, you can switch things up.
Curriculum will also play into it. In our area lots of boys wait. Here, K kids are reading (or expected to) mid year. They also are writing basic sentences. What used to be 1st grade work is now K. Most kids go in knowing colors/letters/numbers (what used to be K curriculum) and/or are expected to learn them quickly at the start of the year. I was suprised at how much writing (fine motor) is done. I think that is the major hurdle. Some kids just dont have the fine motor control and/or desire to learn to write/read at that age. The old state we lived in was more basic and a 1/2 program.... so areas can vary widely on expectations and curriculum. look into it before you decide.
My DS is December kid and starts kindy at 4 (in Canada). I don't know how it works where you live, but where I live you could homeschool the K year and get money to do that, then see how your child is the next year - if he is ready for 1st or K. If you're thinking of waiting a year, I don't see how it would hurt to get money to do stuff together for a year instead of just waiting (pays for zoo trips, etc.). I'm strongly considering homeschooling, but even if I wasn't, it'd be an option for that "in between" year.
ETA: It could also be perfectly fine to start your DS in school as normal in K at 4 - I'm not saying you shouldn't do that. It really depends on the kid. I just think that if you decide not to do that, don't forget about the homeschooling money that is available to you.
In my state the child must be 5 by Sept 1. My ds will turn 5 on Aug 26th 2012 (5 days before cutoff so he is able to go) but i'm choosing to wait until he turns 6.
Thank you for all the great replies!! Here in Canada, ds will be allowed to go to school at age 4. He is very bright and loves to learn new things. He builds puzzles geared to 6yr olds, builds amazing marble racers, draws extremely well, and loves to practice letters and math. The reason he would not be ready is because he doesn't want to be away from me. I have contemplated HS and still may. In my city it is now full day kindy and I think that is ridiculous. The only school that will do part time is a private school which would cost 300$ a month. I just hope this is considered normal because he is the only child in his ps that has this problem. I have no problem holding him back....I do not want my baby to grow up and be in school full time...he is still my baby!! I get people asking if I will hold him back or keep taking him out of school everytime he says he doesn't want to go. I want to follow his lead but I need to make sure he isn't calling all the shots just because he can and not because he really doesn't like it. kwim??
The reason he would not be ready is because he doesn't want to be away from me. I have contemplated HS and still may. In my city it is now full day kindy and I think that is ridiculous. The only school that will do part time is a private school which would cost 300$ a month. I just hope this is considered normal because he is the only child in his ps that has this problem. I have no problem holding him back....I do not want my baby to grow up and be in school full time...he is still my baby!! I get people asking if I will hold him back or keep taking him out of school everytime he says he doesn't want to go. I want to follow his lead but I need to make sure he isn't calling all the shots just because he can and not because he really doesn't like it. kwim??
This is a concern--- even if you wait a year, you will most likely face the same problem. I teach 3 yr old preschool (it is twice a week for 1/2 day). Many (though not all) 3 yr olds that have trouble seperating from parents at 3- also have trouble at 4 (we have a 4 yr old program that is 1/2 days for four days).
I would talk to the school social worker if you can. They have experience and may be able to tell the difference between your concerns (him calling shots and not liking it) and suggest some methods to help him cope better. Even if you do HS, she/he could have some good insight on how to give him some tools to control his anxiety/concerns.
Another option is=== can you send him to the full day program and simply take him out 1/2 a day and HS that time? I know that in the US (in my area) this is an option for my DD next fall. We can choose to pick her up at lunch if we want to (she has serious fatigue concerns and may not be able to go a full day gross motor wise).
I think what I'd do in your shoes is: a) check out schools to find the one that you like best, b) enroll him for K, c) give it a little time to see how it's going, d) leave him in K if it's going great, or take him out and HS for the rest of the year if not, and finally e) sign him up for grade 1 the next year (unless you end up HSing and want to continue HSing). It sounds like academically he's ready for K (and will be even more advanced in another 8 months!), but he just might not be ready for that much time away from you. To me, in that case, it makes more sense to wait another year for school (if indeed that's necessary - you'll find out in the fall), but not to have him wait a whole other year for K because likely he'd be bored "learning" stuff he already knows.
Kate, mom to 7 year old Djuna and 4 yr old Alden. Missing our good friend Hal the cat who died June 2, 2010
We have a dec cut off too. My son started school this year, at not quite five. He was more than ready and is doing just fine. My youngest has a Dec B-day, but we have a few more years before we need to decide. My best advice is wait to decided. See what he is like come summer time. Ask around if more kids are held out or if the majority of late birthday's are sent? Does the school do a screening? If he all around seems like he isn't ready than I would most likely hold him out, but if it's only one or two areas your worried about send him. Kids go to K all over the board as far as readiness goes. :)
We also have a son who would technically be ready to start kindergarten next Fall, but we are choosing to wait a year to avoid him being one of the youngest in his class. He's one of the oldest in his preschool class now and is thriving. Being one of the oldest in class allows him to really rise up and not just swept up in the older children play.
I also considered it from the perspective of when they are older. I have a niece who was very ready intellectually to start kindergarten as one of the youngest in her class, but she just graduated high school last year and is far less mature at this point than her classmates. She seems lost and just not quite ready to be out in the world on her own. Holding her back from starting kindergarten might have helped.
My husband was also one of the youngest in his class and they decided in 2nd grade to hold him back because they thought he would do better as one of the older children in class. It was much harder for him at that point to watch his friends go on to the next grade and him stay behind. Delaying the start for our son will hopefully avoid anything like that.
And.... I don't want to have him grow up any faster than he has to!
Just turned 6 at the start of kindy. Other choice was just turned 5, which despite beng academically advanced, did not fit with what we felt would be good for our son. There was no perfect answer, but this has turned out the best, as we can see as his school career progresses.
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A method for printing or exposing photosensitive media is disclosed herein. The method uses standard spatial light modulators with standard addressing circuitry. The data is written to the device for the first row, the photosensitive media is exposed to the light reflected from the device, and the device is turned off. The data from the first row is then written to the second line of the device, and new data is loaded into the first line of the device. The media is again exposed. This is repeated until the entire region of the drum is completely exposed. The device can be repositioned to cover a different region of the drum and the process would be repeated.
1. A method of printing using at least one spatial light modulator, each said modulator comprised of an array of individually addressable cells and corresponding addressing circuitry, said method comprising the steps of:
a. printing lines of data, said printing step comprising the steps of:
i. writing image data to said addressing circuitry of said modulator;
ii. illuminating said modulator with light from a light source;
iii. reflecting said light to a photosensitive media with said modulator such that said reflected light forms an image on said photosensitive media;
iv. writing new data to the addressing circuitry of the entire modulator such that each line of data previously written to said addressing circuitry is written to a row of said addressing circuitry adjacent said line's previous position;
b. repeating steps i. through iv. of said printing step until a predetermined region on said photosensitive media has been completely exposed; and
c. repositioning said at least one modulator to expose a different region on said photosensitive media.
2. The method of claim 1 wherein said spatial light modulator is a digital micromirror device.
3. The method of claim 1 wherein said photosensitive media is a negative.
4. The method of claim 3 wherein said negative is for a printed circuit board.
5. The method of claim 3 wherein said negative is for an offset printing plate.
6. The method of claim 1 wherein said photosensitive media is a finished photographic product.
7. The method of claim 6 wherein said photographic product is a printed circuit board.
8. The method of claim 6 wherein said photographic product is an offset printing plate.
9. The method of claim 6 wherein said photographic product is a film positive.
10. The method of claim 6 wherein said photographic product is a paper positive.
11. A method of printing using at least one spatial light modulator, each said modulator comprised of an array of individually adressable cells and corresponding addressing circuitry, said method comprising the steps of:
a. printing lines of data, said printing step comprising the steps of:
i. writing image data to said addressing circuitry of said modulator;
ii. illuminating said modulator with light from a light source;
iii. reflecting said light to a photosensitive media with said modulator such that said reflected light forms an image on said photosensitive media;
iv. writing new data to the addressing circuitry such that each line of data previously written to said addressing circuitry is written to a row of said addressing circuitry adjacent the previous position of said line; and
b. repeating said printing step until a predetermined region on said photosensitive media has been completely exposed.
12. The method of claim 11 wherein said spatial light modulator is a digital micromirror device.
13. The method of claim 11 wherein said photosensitive media is a negative.
14. The method of claim 13 wherein said negative is for a printed circuit board.
15. The method of claim 13 wherein said negative is for an offset printing plate.
16. The method of claim 11 wherein said photosensitive media is a finished photographic product.
17. The method of claim 16 wherein said photographic product is a printed circuit board.
18. The method of claim 16 wherein said photographic product is an offset printing plate.
19. The method of claim 16 wherein said photographic product is a film positive.
20. The method of claim 16 wherein said photographic product is a paper positive.
This application is a Continuation of application Ser. No. 07/824,660 filed Jan. 23, 1992, which is now abandoned.
1. Field of the Invention
This invention relates to methods of printing, more specifically to printing using spatial light modulators.
2. Background of the Invention
The use of spatial light modulators in conjunction with a light source has many advantages over other types of optical printing, such as those employing scanned lasers. The spatial light modulator can use simpler illumination schemes, normally requires less peripheral equipment, and less power. Printing on large-area, low-sensitivity photosensitive materials, however, does bring up new areas of concern.
One of the many areas such photosensitive materials are used is in the patterning of printed circuit boards (PCBs), and printing plates. Normally, a sheet of such material or the negative that will be used to expose such media is wrapped around a drum, and the desired pattern is exposed onto the sheet using lasers while the drum spins, much like a xerographic printer. It would be an advantage to use spatial light modulators for reasons discussed above.
Some problems exist, however, with the use of spatial light modulators (SLMs), such as liquid crystal display cells (LCD), or deformable mirror devices (DMDs). In order for the machine to be cost-effective, it must produce a certain number of completed sheets of material in a given time frame. As it turns out, this requirement is difficult to meet using standard light sources and simple modulators. The light is not bright enough to expose the media within the time limit, as it is a "slow" media, requiring long exposure.
One solution is discussed in U.S. Pat. No. 5,049, 901. This solution uses a 1000 cell X 100 line spatial light modulator array. The data is loaded onto the cells of the array from the top down. After the first line of data is loaded onto the first row of cells, it is exposed onto the drum. Then the first line of data is then shifted down to the second row of cells. The second line of data is loaded onto the first row of cells, and then these two rows are exposed. The data shifting down the array is coordinated with the spinning of the drum, so the same data is exposed onto the same line on the drum for approximately 100 lines.
Typically, the illumination patterns from conventional light sources are brighter in the center than at the edges, and no illumination pattern is completely uniform. This is corrected with the last lines of the array. Depending on the amount of correction necessary, the number of lines is up to the designer. The center cell or cells are turned off after a predetermined number of lines. The cells on either side of the center region are left on for a pre-determined number of lines. The cells further away from the center regions are left on for even more lines. This continues until the last line, in which only the cells at the edges remain on. In this way, the darker areas of the image are exposed for longer durations to equalize exposure time across the image.
This solution involves the use of a modulator array consisting of an array of shift registers rather than conventional x/y addressing. The registers shift the data down the array, as discussed previously. For some applications, or some modulators, shift registers are impractical because of the amount of space they require. In the case of the DMD, the complexity of the shift registers makes it difficult to manufacture the device using the already-established processing techniques.
The present invention disclosed herein comprises a method of printing or exposing photosensitive media using the cells of a standard spatial light modulator and standard addressing circuitry that allows the use of a less-powerful lamp, and smaller geometries of addressing circuitry. It is an advantage of this invention that it does not require a custom spatial light modulator.
For a more complete understanding of the present invention and for further advantages thereof, reference is now made to the following Detailed Description taken in conjunction with the accompanying Drawings in which:
FIG. 1A shows a spatial light modulator.
FIG. 1B shows a timing diagram for the exposure time of a spatial light modulator.
FIG. 2A shows a spatial light modulator and the area it exposes on a photoreceptor drum.
FIG. 2B shows a portion of the face of a modulator which would be active when it has been fully loaded with a data pattern that might be used.
FIG. 3 shows an adapted spatial light modulator.
FIG. 4 shows three spatial light modulators and the area they expose on a photoreceptor drum.
FIG. 1A shows a typical spatial light modulator array 10. The modulator may consist of individual cells, or cells grouped in regions, such as lines. The modulator shown has lines depicted, but it is understood that these lines could consist of hundreds of cells. Similarly, the modulator could be of any type, but for discussion purposes, the modulator discussed will be of the deformable mirror type. Deformable mirror devices (also know as digital micromirror devices) or DMDs, consist of a multiplicity of tiny mirrors suspended over an air gap. Addressing circuitry is associated with each tiny mirror, which causes the mirror to deflect in one direction or another, depending on the architecture of the DMD, and the data in the addressing circuitry. The addressing circuitry normally consists of one or more transistors and is preferably underneath the air gap on the substrate. When a transistor is turned on, electrostatic forces build in the air gap, causing the mirror to be deflected towards the transistor.
The array shown is assumed to be 768 cells wide, and 576 lines long, a configuration that is currently manufactured by the assignee of the present invention for video applications. Row 1 on the modulator, designated by reference numeral 12, is at the top of the device. It is loaded with data for the first line to be exposed on the photosensitive media. After it is exposed, the illumination must be turned off. Unlike the method previously discussed with respect to U.S. Pat. No. 5,049,901, the data is not shifted down the device. Instead, according to the preferred embodiment, the entire device is rewritten. The first line of data is then written to the addressing circuitry for row 2 on the device, shown with reference numeral 14. The data for data line 2 is written onto the addressing circuitry for row 1 on the device. This is repeated until the entire device minus whatever number of correction lines has been filled with data. When the next line is written to modulator row 1, according to the preferred embodiment, it will be data line 477, rather than line 576 for reasons discussed in detail below. The number of lines of data is determined by the size of the drum. Typically, the designer would coordinate the loading of line 1 of data with some feature on the drum. A possible synchronization point would be the area of the drum's surface that has the fixtures which hold the negative in place. Many thousands of lines of data may be necessary to completely expose the entire circumference of the negative on the drum.
Numeral 16 depicts row 476 of the device. The lines between this row and the bottom row of the device 18, which is the 576th line of the array, is used to equalize the illumination profile as previously discussed, and which will be further discussed at FIG. 2B.
FIG. 1B shows the timing of the light source for the above scheme. The horizontal axis 20 is the time axis. The vertical axis 22 is the illumination intensity axis. During the time interval between tic marks 24 and 26, the light is on the device. During the interval between tic marks 26 and 28, the illumination is off as the data is written to the device. The entire interval shown by tic marks 24 to 28 on the horizontal axis is the amount of time to expose and then rewrite the device.
Obviously, as can be seen by this diagram, the illumination is only on a fraction of the total interval 28. This low duty cycle may result in a loss of brightness as great as an order of magnitude. However, this loss is not as drastic as it seems, as it can be compensated for in other areas. For example, using multiple devices in tandem requires less repositioning to cover the entire negative, making the overall system using spatial light modulators faster than first considered. As another example, all 576 rows do not have to be used. To write 100 rows as in the method previously discussed in U.S. Pat. No. 5,049,091, it takes a modulator with circuitry such as the DMD 25 μseconds to complete the operation.
FIG. 2A shows the modulator positioned to write onto or expose the drum. The light could be positioned somewhere around position 30, and the light would travel along path 32 to the modulator array 10. Typically, there are optical elements such as lenses or mirrors in this path. Since the geometry of the path and the combination of the elements have so many possible variations, they are not shown.
As light from path 32 impinges upon the modulator, the selected cells on the modulator direct their respective portions of the beam to the drum 36 along path 34. The cells that are not selected to send light to the drum can be configured to either return light back to the source or to direct it away from the drum in another direction. The selection depends on the confines of the optical system and the capabilities of the spatial light modulator.
Region 38 on drum 36 shows the area being exposed on the photosensitive material on the face of the drum. Photosensitive, in the application, is meant to include any material that develops some kind of differentiation that can be exploited for printing between areas exposed to radiation and areas not exposed to the radiation. The radiation is typically in the infrared to ultraviolet range, due to the availability of sources and optics, but is not assumed to be limited to that range. The photosensitive media could be intended for use as a negative for a printing process, such as in printing negatives for printed circuit boards, (PCBs), an offset printing plate, a film or paper positive (a negative that has been color or contrast reversed), or other such items. Additionally, this media could be the finished photographic product. For example, instead of making a negative to pattern the PCB, the board itself could be patterned directly. Additionally, other items could be printed or exposed directly, such as film or paper positives.
FIG. 2B shows what the data would possibly look like on the face of the modulator 10 as if seen from the drum. The region 11, that is not hatched is the area being used to balance out the illumination profile.
In order to further overcome the limitation of rewriting the device every cycle, an adaptation of the video chip is shown in FIG. 3. A bank of shift registers 40A-40B are now at the top of the modulator 10. This is used to load the data into the columns of addressing circuitry. This can be used to speed up the write time of the device during the OFF part of the cycle. Instead of resetting the device and then loading all of the data lines into the device from off-chip, switches 42A-42B are activated and the data currently in row 12 can be written up into shift register 40, the switches 42A-42B are then returned to the position shown and the data written down into row 14. Switches 44A-44B are closed as shown in this figure for writing. Each set of switches, such as 42A and 44B, are tied together such that when 42A is open 44B is closed and when 42A is closed 44B is open. This configuration of the device eliminates a vast amount of off-chip processing, and limits the off-chip accesses to one row of data per line time. This speed-up will decrease the OFF interval in the timing diagram of FIG. 1B and also decrease the brightness loss discussed previously.
The final problem addressed by this invention is that of bandwidth. In the method discussed in U.S. Pat. No. 5,049,091, the output of the processor driving the device would typically be 50 Mhz or 500×105. In order to write 1000 columns, the entire device, at that data rate, the load time must be 1000/50×106, which equals 20×10-6, (20 μseconds). Most binary (ON/OFF) spatial light modulators cannot be fully refreshed in 20 μseconds.
However, if the number of pixels to be written increased, by lining chips up together, (if the chip size was fixed), this could be reduced. Two 768×576 pixel chips together would mean that the processor would write 1536 columns per line so the line time would be 1536/50×106, or 30 μseconds, which is more reasonable, as the device refresh rate for modulators such as the DMD is approximately 25 μseconds (0.5 μseconds per line, loading 50 lines from the top, and 50 lines from the bottom, simultaneously, equals 25 μseconds). Three chips used in tandem would give even more flexibility within a given time frame. Three chips of 768 pixels wide have a time of 2304/50×106, or 46 μseconds. At this point the present embodiment of the invention is limited in speed not by the modulator, but by the output of the data, at 50 MHz. Additionally, if the array size is not fixed, and one could use a chip that was larger, such as 1920×1080 pixels, the writing time would obviously be lengthened even more.
In short, a standard modulator with standard addressing can emulate or surpass the performance of a system using a customized device, using 100 of its 576 available rows. The standard modulator also give two further advantages. The first is system flexibility. With an array such as 768×576, instead of 1000×100, there are more rows to be used. The use of multiple devices allows the designers to consider a trade off not previously available. For example, using the 46 μsecond margin discussed above, another 25 lines on top and bottom could be loaded. This would take 37.5 μseconds, and add a total of 50 lines of data. They can use a lamp that does not have to be as bright as the current source, making it cheaper. The trade off is that the third device may cost more. Another consideration not previously available is resolution control. The extra rows on the modulator can be used to increase the resolution, allowing the equalization of the illumination profile to be more exact.
The second advantage not available in the customized-device system, is the use of already-established addressing schemes. An example of some of these schemes can be found in U.S. Pat. Ser. No. 678,761. Further, using the standardized modulator, which has data inputs on both the top and bottom, an addressing scheme could be used that accesses both the top and bottom of the modulator, as previously mentioned.
An example of chips used in concert is shown in FIG. 4. The light impinges upon the modulators 10A, 10B, 10C, simultaneously. The light from the selected cells of the devices will impinge upon the drum the drum 36 in region 38. The devices would most likely have to be aligned to eliminate the gaps between the right-most column of cells 48A, on device 10A, and the left-most column 46B, of device 10B, and between 48B and 46C. One of the many advantages of this is that the arm holding the devices (not shown) would only have to be repositioned one third as many times as previously required. This again lowers the amount of time used overall. This could also be repeated for as many devices from which the optics can effectively receive light. It is possible that an entire line of devices could be set together so that the entire drum is exposed in one positioning of the arm, eliminating any possible errors from incorrect positioning during the steps across the drum.
Thus, although there has been described to this point particular embodiments of a method of printing using spatial light modulators with standard addressing circuitry, it is not intended that such specific references be considered as limitations upon the scope of this invention except in-so-far as set forth in the following claims.
Patent Citations
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Humanitarian Implications of Climate Change
Mapping Emerging Trends and Risk Hotspots
CARE first established its mission in Afghanistan in 1961, but suspended activities after the Russian invasion of 1979. Resuming activities in 1989 from a new base in Peshawar, Pakistan, CARE delivered assistance to Afghanistan from across the border until 2002 when it shifted its main office back to Kabul.
Each program strives to strengthen self-reliance while promoting basic human rights, good governance, and social, economic and gender equality. In addition to its community-based work, CARE Afghanistan advocates with and on behalf of vulnerable and marginalized Afghans for national and international policies that support and protect their interests and maximize their chances to break out of the cycle of poverty.
Heavy rainfall on April 23-25, 2014 resulted in flash floods across 10 provinces of northern Afghanistan. CARE Afghanistan responded in three of those provinces (Balkh, Samangan and Jawzjan) where it has a presence, history or focus, by participating in joint assessments as well as providing non-food items, hygiene kits and tents in multi-agency distributions. Jawzjan province has been the most severely impacted with over 27,000 people affected. CARE is continuing to assess and respond to the situation.
In Afghanistan, it's difficult and often dangerous for girls to go to school. For almost two decades, CARE has been working with local communities to turn things around for girls.
When Robena was 16 years old, her father killed a person, and gave Robena to the family he had hurt in order to compensate for the death.
Mapping Emerging Trends and Risk Hotspots
We believe that the greatest obstacle to girls' education is the low social status in which girls are held.
In 2008, CARE launched an ambitious Market Engagement Strategy that aims to empower 10 million women and girls to transition from poverty to prosperity by 2015 by improving their ability to access and benefit from markets and employment. This report represents a first assessment of how we are doing.
Empowering women to ensure family planning coverage, quality and equity
CARE responds to dozens of disasters each year, reaching approximately 12 million people through our emergency programs.


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Paul M. Banas is an experienced marketing research professional with over 15 years of researching and developing consumer insights, focused mainly on the consumer packaged goods industry.
Areas of experience and interest include new product development, integrated marketing communication and advertising research, brand positioning and development, digital marketing and advertising, product and packaging testing, blogging, and fly fishing.
Feel free to contact me at:
pmb -at- insightbuzz -dot- com


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continued The 4-H Poultry breed show takes place at 11 a.m., with the midway rides opening at noon.
The annual tractor pulls will also start at noon with farm stock and altered classes 6500 and up. The pulls will continue at 5 p.m. with farm stock, altered stock and pro stock 9000 and higher.
Also at 5 p.m., the annual Essex County Idol singing competition takes place on the South Lawn area, with a quick break at 5:30 p.m. to announce the daily bike giveaway winners.
Every day events
Daily events include the baby animal barn, Bubbles and More with Jeff Boyer, Hot Dog Pig Races, Merriloons the Clown, the J.D. Winslow Equestrian Show (Wednesday through Friday only), the Wild Animal Experience Petting Zoo, Floral Hall displays such as the Serendipity Spinners and the Duffer Borden Fair Collection, the Adirondack Maple producers sugarhouse, Sawdog the Chainsaw Carver, Cornell Cooperative Extension programs and exhibits, Rain Garden demonstrations, conservation area events and demonstrations and more.
For more information on events at the Essex County Fair, visit the website essexcountyfair.org.
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Source Article: PHOTOS: Top Labor Day Escapes That Are TOTALLY Worth the Money
Miami is the perfect place to party year-round, and Labor Day weekend is no exception.
Take Miami's public bike sharing program, Decobike Miami Beach, for a spin, and rent a bike anywhere from 30-minutes to a full day. A 30-minute ride will cost you $4, while one-hour rentals are available for $6, two-hour rentals are $10, four-hour rentals are $18, and a one-day rental will cost just $24.
Stake out the perfect spot on any of Miami Beach's seven miles of sand. The best part: it's free.
Chicago is home to a number of free art and music festivals on Labor Day weekend.
The 36th annual Chicago Jazz Festival takes place this year from Aug. 28th to Aug. 31st at Millennium Park.
Check out Remix Chicago, (formerly known as Ravenswood Remix), a recycled art fair on Saturday and Sunday where artists showcase their original, hand-made art, clothing, jewelry, and crafts made from used or recycled goods.
This Labor Day weekend, pay a visit to one of New Jersey's many beachside waterparks, like Raging Waters at Morey's Piers in Wildwood, for a fun way to cool off in the hot summer sun.
Spend the long weekend blissfully floating down the lazy river at Morey's Piers & Beachfront Waterparks, Raging Waters, in Wildwood, New Jersey.
Take on adrenaline-pumping attractions like WipeOut! at the Ocean Oasis Waterpark & Beach Club at Morey's Piers.
Washington D.C. is home to a number of free concerts over Labor Day weekend.
Each year on the Sunday of Labor Day weekend, the National Symphony Orchestra performs a free concert for the public on the West Lawn of the U.S. Capitol at 8 p.m.
Want to enjoy the great outdoors during your long weekend? Consider renting a kayak or canoe from the Thompson Boat Center for a totally different view of the city from the Potomac.
Enjoy live music with an impressive fireworks display over Lake Tahoe Sunday night starting at 8:30 p.m.
On Saturday, Aug. 30th, you'll have the opportunity to board one of South Shore's two Mississippi paddlewheeler boats, the Tahoe Queen or the M.S. Dixie II, for the 21st annual Great Lake Tahoe Sternwheeler Race, a unique only-in-Tahoe experience.
Cheer runners on from the sidelines as they compete in the third annual Heavenly Mountain Run, racing from the California Base Lodge at 6,565-feet all the way up to the Tamarack Lodge at 9,150-feet.
Another notable weekend event is the 5th annual Sample the Sierra Festival on Aug. 31st from 12 p.m. to 5 p.m., where you can sample fresh farm-to-table food and wine creations by local chefs and farmers.
The calm before the storm: This year, more than 20 bands will take the stage in Virginia Beach for the Verizon Wireless American Music Festival, playing all kinds of music—rock and roll, jazz, blues, country, and R&B—by local, regional, and national bands.
Those seeking a more active vacation can sign up for the Rock 'n' Roll Virginia Beach Half-Marathon, a race through the streets of the city on Sunday, Aug. 31st, that raises money for St. Jude's Children's Research Hospital.
Baseball lovers can watch the Daytona Cubs play ball on Aug. 29th, 30th, and 31st at the Jackie Robinson Ballpark starting at 7 p.m., where dogs are welcome and the kids will have a chance to run the bases—don't miss their fireworks show Saturday night.
If you're traveling without kids, check out the Third Annual Main Street End of Summer Party & Rum Fest at Main Street Station, an event held on Aug. 31st featuring live entertainment on two stages and plenty of drink specials starting at 7 p.m.
Labor Day is more commonly referred to as Park City Miner's Day in this part of Utah—a tradition dating all the way back to 1898.
Each year there's a celebration in honor of the area's rich mining heritage, complete with a community pancake breakfast, live music, races and games for the kids, the Funky 5K Fun Run, and the annual Miner's Day Parade down Historic Main Street.
This is Historic Main Street in Park City, Utah, home of the Running of the Balls, an event held each year on Labor Day.


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Naked Lunch
SOHO. This smart looking dance hall, named after William Burroughs's famous book, is a good place to spot the occasional celeb. Conspicuously located on the corner of Thompson and Grand, the Naked Lunch is one of SoHo's favorite places to do the salsa, and dance to great 80s tunes on the weekends. After work, it's not uncommon to see a few business types here, waiting for the party to start and tossing back a cold brew. If you don't mind gawkers, you're welcome to start shaking your booty early.
TRAIN: 1, 9, A, C, E to Canal St
Address17 Thompson St, New York, NY 10013
HoursWed-Fri 4:30pm-Close; Sat 9pm-Close
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Tracked - Vivaldi, Barber, etc / Andy Findon
1 CD / Quartz Records / 2006-01-10Works: Michael Nyman: In Re Don Giovanni, for band; Sergey Rachmaninov: Songs (14), Op. 34; Malcolm Arnold: Scottish Dance no 3; John Williams: Schindler's List; Antonio Vivaldi: Concerto for Bassoon, strin...
Performers: Bhamra, Kuljid; Findon, Andrew; Findon, Julia; Findon, Rob; Findon, Ronnie; Tilt, Marcus; Vinter, Andy
A dazzling collection showcasing the kaleidoscopic talent of Andy Findon, featuring multi-tracked performances of celebrated works from Gabrieli to Nyman. Findon is one of the...continue...
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No Limit / Sergei Nakariakov
1 CD / Teldec / 2000-07-11Works: Camille Saint-Saëns: Havanaise for Violin and Orchestra in E major, Op. 83; Pyotr Il'yich Tchaikovsky: Andante cantabile for Cello and Strings, Op. 11; Variations for Cello and Orchestra on a Ro...
Performers: Nakariakov, Sergei [Trumpet]
Conductors: Ashkenazy, Vladimir
Ensemble: Philharmonia Orchestra
"I have never heard trumpet playing like this before. As you listen to the first selection, Saint-Saens's Introduction and Rondo (originally for violin), you are...continue...
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Our Nerdfriends are in town from Mexico, making our usual 3 Nerdfamily group bigger by 33%! Actually, by more than that because they have three kids. Anyways, we've been Nerding it uuuuup!!! So fun. I love the nerds.
xo, all.
As for the laundry, it is not my usual laundry woes. This is baby waking in the middle of the night to VOMIT all over me and Brent and our bed and the floor...I'm guessing he got what I had a few days before Christmas? He threw up, and threw up, and threw UP....ack....poor baby! He was all limp and listless and pale, and woke up crying frequently, shortly before puking again. By the end, there was no puke. Just heaves.
He's all better now! It only lasted about 3 hours, from midnight to 3 a.m. Then he finally fell asleep, woke up an hour later to breastfeed, and fell asleep again. BUT THEN, in the morning, he emptied my boobs again and then walked over to the door to our bedroom and PUKED IN A BOX FULL OF CHRISTMAS GIFTS. Rock. On.
After that he was fine.
Nothing but fun times in the Vose house!!


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Raye & Poliquin Set to Square Off in WAGM/LEAD Debate
Friday May 30th, republican candidates vying for the Second Congressional District seat will be in Aroostook County for a live debate. Bruce Poliquin and Kevin Raye will sit down to answer questions submitted by viewers. The debate/forum is a commercial-free, hour-long program. News Director and Evening News Anchor Chris Weimer will be one of the moderators Friday night.
"We're calling it a debate but we're hoping it will be a lot less rigid than what people are used to seeing in a debate. In that sense, it could also be called a forum or even just a chat. That's what we're hoping the mood is.", says Weimer.
Kevin Raye & Bruce Poliquin both have established names in politics. Raye served four terms in the Maine Senate. Poliquin was the State Treasurer under Governor Paul LePage from 2011 to 2013. Friday night, citizens of Aroostook County will have an opportunity to see where each candidate stands ahead of the June 10th Primary Election. Jason Parent is a board member of Leaders Encouraging Aroostook Development. LEAD is partnering with WAGM on a series of debates leading up to the general election. Parent, who will be co-moderating the debate Friday night, says WAGM and Leaders Encouraging Aroostook Development decided to hold primary debates because both organizations felt there was a real need for better informed voting.
"It is a key part of LEAD's mission to make our elected leaders and those seeking public office aware of the issues of importance facing The County. We are a unique part of Maine with unique issues and are keenly aware that a one-size fits all policy doesn't always work for us. Our partnership with WAGM on the primary debates is key to both making the candidates aware of the issues of importance to The County, and County voters aware of where the candidates stand on issues of importance to them.", says Parent.
"Honestly, we want Raye and Poliquin to go at it. We want them to separate themselves in a way that our viewers can walk away and feel comfortable making a decision on who they want to support. But we also want to make sure that those viewers get answers to the questions that matter to them.", adds Weimer
People are being asked to submit their questions by either emailing them to [email protected] or posting the questions to facebook or twitter with the #politicalfocus. Friday night's debate will air live on WAGM-TV CBS 8 at 7 pm.
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We interviewed Hugh Broughton of Hugh Broughton Architects, which in 2005 won the international RIBA competition for the design of a new British research station in Antarctica Halley VI.
Following Urban Times' attendance of the Intelligence Squared 'If Conference', we approached the best speakers to get a series of interviews with them. We interviewed Hugh Broughton of Hugh Broughton Architects, which in 2005 won the international RIBA competition for the design of a new British research station in Antarctica Halley VI.
Hugh's work for the British Antarctic Survey has led to other commissions in Antarctica, most notably winning the international competition to design an Antarctic research station for Spain in the South Shetland Islands and a collaboration with Samsung Construction for the design of a new base for Korean Terra Nova Bay.
Interview with Hugh Broughton
Q: What was your inspiration in starting up Hugh Broughton Architects and why the focus on designing architecture for extreme environments?
A: When I set up HBA I wanted to work with inspiring clients with interesting briefs demanding exceptional designs.
We started focusing on 'extreme design' in 2005, following our winning entry in the RIBA International Design competition for the new Halley VI Antarctic Research Station. We recognised that our process driven approach to architecture was particularly appropriate to the challenges of designing buildings for remote environments and that it was an incredibly creative, enjoyable and rewarding process. Once we discovered that the market for scientific research facilities in extreme environments was not as limited as one could have imagined, it was an easy choice to dedicate time to the development of this particular field of expertise.
Q: What were the main challenges being posed for building a new Antarctic Base?
A: The challenges were many and can be considered on a number of different levels.
Life Critical issues: How to sustain a reduced crew of 16 in a station which is cut off from physical help for 9 months of the year and has to endure one of the harshest sub-zero environments on earth.
This divides in to the following set of main challenges:
Environmental: Wind and temperatures (as noted). The lowest recorded temperature at Halley is -56oC. Very high UV levels partially on account of the depleted ozone layer. Spindrift (microscopic particles of ice blown in the wind) very quickly work their way into any crevice or void in a building structure.
Physical: There were a great deal of physical and mechanical issues to overcome to ensure the station is well insulated, and airtight. The modules are independently anchored to the ice through their ski foundations, to assist their resistance to over-turning in high winds.
Logistical: Getting access to the site was a huge challenge with the 'bottle neck' being the crossing of the sea ice between the relief ship and the ice shelf. This has an absolute bearing capacity of 9.5 tonnes.
Services: Ensuring all service systems operate and can be maintained with the reduced crew in the harsh winters. It is essential for the generators to maintain constant performance to ensure the station is heated and lit and life is sustained.In addition there is the challenge of psychological well being. As noted, 105 days of constant darkness has a serious impact on the psychological well being of the station crew. For this reason we introduced daylight simulation lamps, a hydroponics system so the crew can enjoy fresh salads throughout the winter and a palette of colours designed to encourage energy levels and vitality in the station.
Q: How can we ensure that the mistakes of the previous Halley's are avoided in its sixth state?
A: We closely studied the workings and operational methods of Halley V to ensure that mistakes made there were not repeated. We were also issued with a document called 'Lessons learned at Halley V' from the Client as they wanted to ensure Halley VI was as perfect as possible. We were also made aware of the positive aspects of Halley V, which BAS wanted to retain, such as the connection to the outside environment and the world class science that was being carried out there.
The most evident 'failure' of the five predecessors to Halley VI was their inability to cope with the rising snow levels, which resulted in the stations being lost and abandoned under the ice. Halley V copes with this problem up to a certain point, but the effort required to raise the habitat platform every year is exceptionally demanding. Halley VI' s hydraulic legs overcome this issue, offering a straightforward solution to the rising snow levels. The station relocatability is also crucial to overcoming the fate of the previous stations, preventing the station disappearing on an iceberg.


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Like anything, there are always exceptions, and with violins, there are more exceptions than those that follow the guidelines. So take all of these with a grain or a whole shaker full of salt. Many of these characteristics will be based on comparison to other schools of work and so they don't do much good if you can't compare them or don't have an eye for remembering what you have seen, crucial to proper evaluations. Violin appraisers spend their entire life learning and the viewing of thousands and thousands of violins is critical to becoming a good and respected appraiser.
There are also cross-school similarities and the more modern the instrument, the less the individualism of the school. As you can see from the map below that shows the major hubs of violin making in Europe, many were/are located relatively close to one another and often right across the border from a neighboring country. Violin making started in Cremona Italy and spread from there. The towns of Markneukirchen and Klingenthal in Germany are just over the border from Luby in the Czech Republic (all three towns are within 10 miles of each other. The town of and Mittenwald in Germany is just over the border from Absam in Austria. This makes it often impossible to tell exactly where an instrument was made, as the makers crossed the borders to sell their instruments in other towns. The instruments were often labeled from the country they were sold from, and not the one they were made in.
The chance of finding a "Strad" today in a basement or attic is near impossible. I have received hundreds if not thousands of inquiries over the years from customers who have an old instrument with a label stating that it is a "Stradivarius," a "Guarnerius," or an "Amati," or another famous violin maker. Dealers know that the chance of stumbling upon a previously unknown authentic instrument by one of these great makers is next to impossible. Very few undiscovered violins by the most famous makers have turned up since 1960, while over the past century and a half, millions of commercial instruments containing fake labels have been made. See more about these Factory Instruments from Germany Czechoslovakia and France.
This has not for the most part been a practice of deception. When these instruments were made, it was clear to the consumer that this purchase was only a copy. It was considered fashionable to have an instrument which had been made to look "aged" with an antique-type varnish with a facsimile label by a famous maker. In more recent years, almost every violin shop has it's own 'label' violins. This is partially so that it makes it harder to compare apples to apples. It also makes it so there is name recognition between the 'brand' and the shop.
Many of these instruments were made in assembly line factories in Germany and France; they could be sold at much lower prices than instruments which were hand-made by a single craftsman. These instruments were mostly made to be exported and as such they were deemed as Trade Instruments for more information and a list of many of them. There were also many catalogs that were printed and sent to American dealers to order different grades of these copies at varying prices; they could also buy in bulk. One French company had a model that was available by the piece, by the dozen or by 100. This is a link to a page from a catalog from the 1920's showing a few of the different copies available. http://orgs.usd.edu/nmm/oldvln2.html During the period from 1880-1914 it is estimated that just from the town of Markneukirchen Germany as many as 7 million bowed string instrument were exported. In Mirecourt France, one firm is known to have produced more than 150,000 instruments in just one year with over 1000 violin makers in their factory. A great number of these were simply labeled with the model and not the actual firm that made it.
The value of instruments depends on many different factors. Value is based on 1) Who made it 2) Where it was made 3) When it was made, 4) Condition, and last 5) Sound. The sound of an instrument is the most subjective making it the last on the list for valuation. Who, Where and When cannot be changed and that created an instruments "Value Range". The Condition and Sound do change and thus set the value within the range. Typically these instruments come into the shop in poor condition and need from $100 - $500 in professional repair. Much of any previous repairs may have been done by amateurs and may need to be reversed or have completely destroyed the value of the violin. As some of these labels are very convincing, the only way t know for sure about the quality, authenticity and value of your violin is to have it seen in person by an expert.
I have had a few experiences where someone brought in an instrument that was passed down or purchased at a yard sale that turned out to be a very fine instrument valued from $2500 to $25,000. However that is only a few out of thousands of these "finds". If you have a "Strad", the only way to be sure about the value of the instrument is to have it appraised by a professional. Many violin shops will give you an oral appraisal for little or no cost. Even if you discover that your violin was not made by one of the masters, it may still have some value and be enjoyed for years to come.
A violin's authenticity (i.e., whether it is by the name on the label) can only be determined by comparing it to know examples of the makers workmanship, wood characteristics, and varnish texture. This expertise is obtained over many years of examination of hundreds or thousands of instruments, there is no substitute for an experienced eye. This knowledge can't be summed up in a few lines of text or even pages of text.
The following information on Stradivari and Guarneri labels has been worked out over the last 150+ years by the foremost authorities in the field, but remember that the label is the last thing a true violin appraiser will look at before rendering an opinion. The inserted label may confirm the appraisers opinion but rarely will sway it.
Stradivari Labels
Stradivari never roamed very far away from his home in Cremona and never learned English, so he would never have used any English on his labels, like "Made In".
We have seen false labels in instruments as early as 1685 in Italy, 1760 in England and the early 1700's in Germany.
Many Gagliano violins actually have original Stradivari labels
The 1660's were the last time that he made a new label block for printing labels and the block had the "166" printed. From the 1670's through the 1690's he just altered or erased numbers to make the change. In 1698 he made a new label block with just the "1" printed and he always hand wrote the last three numbers until his death in 1737. Any instrument dated after 1700 with more than the "1" printed are false labels and thus are in copies as no one would put a false Strad label in a real Strad.
The monogram with his initials although not used on all of his labels, is on most and was a separate block and thus was not always in the exact same place.
Until 1729 he used the Latin form of the "v" and thus it appeared as a "u" making his labels read "Stradiuarius". From 1730-1737 he used the standard Roman v
He almost always affixed his labels abutting the left (bass) side "c" bout lining.
As the years progressed, his label type became courser probably because it became worn or dirty. On some labels a line can be seen above his name. This was from the block and was from too much pressure being applied when printing and thus the edge of the block also printed. Most of his labels he trimmed to be just above the printing and thus this line is not visible.
A real Strad label:
If all that isn't confusing enough, here is a fake Stradivari label - notice the v instead of the u (a very good fake)
Here is a common fake label in a 1920's Czech violin::
A good list of who owns all of the Stradivari Violins
Guarneri Labels
Joseph Guarneri Labels - He was also known as Joseph Guarnerius Del Jesu and his given name was Giuseppe.
He used the Latin spelling of Joseph which replaced the "s" with an "f" making his labels read Jofeph Guarnerius. So if it is spelled Joseph or Josef it is a copy.
In addition his labels spelled the name of his town as Cremone, not Cremonae as it is frequently spelled in the copies.
He always printed the 17 and then hand wrote the last two digits. His labels were very, very similar from year to year.
On many of the copies the "IHS" was separated a fair bit from the "fecit".
An authentic label would look like this:
And a fake label might look like this:
Much of the information below on labels has been copied by another website, word for word - Violinmakerlabels.com (without giving its source). I have spent decades learning this information, my site was started in 2011, the above-mentioned site - not until 2014, you make up your own mind. They have added many pictures of labels, some of which may not be authentic and may cause confusion. In addition, theirs is an E-commerce site as they are selling label reprints. I can't find any credentials for the person that runs this site, but they do sell all sorts of stuff on Etsy that is unrelated to violins. Again, you make up your own mind.
If you are interested in what a real label looks like for a specific maker, please don't hesitate to contact me, if I have it, and I have thousands, I will be glad to provide it to you at no charge. But do remember that just because it might look authentic, it is the instrument that needs to be examined to see if it is authentic, a correct label will just be icing on the cake.
A violin's authenticity (i.e., whether it is the product of the maker whose label or signature it bears) can only be determined through comparative study of design, model wood characteristics, and varnish texture. This expertise is gained through examination of hundreds or even thousands of instruments, and there is no substitute for an experienced eye.
Appraisals of instruments are done for Insurance or Fair Market Value purposes. The difference between the two appraisals is that an Insurance Appraisal will generally be for a higher amount--this allows the owner of the instrument to replace it with an instrument of like value, if the insured instrument is destroyed, whereas a Fair Market Value is the amount that an instrument should be sold for between two individuals.
With an Insurance Appraisal, previous repairs have less to do with the instrument's replacement value. If a violin has a repaired crack or a
In general, the newer an instrument is, the better the condition it is in, and the "cleaner" the provenance; the closer the Insurance and Market Value will agree with each other. When you purchase an instrument at most violin stores, the price you pay is based on the Fair Market Value, not the Insurance Value. In addition, when you purchase an instrument from most violin stores, an Insurance appraisal is usually available for that instrument at no charge. Appraisals should clearly state which version of appraisal you are getting and should be prepared using guidelines from the Appraisers Association of America.
Please note: Due to the numerous factors involved in determining an instrument's value, any good violin store will only offer appraisals (written and verbal) for instruments physically seen in the store. Photographs of an instrument or a description of the label do not provide enough information about the instrument for them to accurately determine a value, nor are they usually enough to say where the instrument was made or who may have made it. If you wish to have an evaluation of an instrument, we recommend bringing the instrument into a reputable violin store near you for identification, it is always best to have an instrument seen in person to determine its age and value. There are so many makers of instruments and no individual violin appraiser can ever know them all. Sometimes all that can be determined about an instrument is the country of origin and approximately when it was made. A good appraiser will know his limitations and not give an opinion on more that what he knows to be sure.
There has been much written about violin fraud and fictitious labels being placed inside instruments. The label that appears inside an instrument may have little to do with its actual origins. It only takes moments to place a label into a violin. There are many books with actual reproductions of labels, like those above, in them that many unscrupulous violin dealers or individuals have copied and inserted inside violins. The true appraiser will only look at the label after they have determined the most likely origins of the instrument. The inserted label may confirm the appraisers opinion but rarely will sway it.
Reminder - A violin's authenticity (i.e., whether it is by the name on the label) can only be determined by comparing it to know examples of the makers workmanship, wood characteristics, and varnish texture. This expertise is obtained over many years of examination of hundreds or thousands of instruments, there is no substitute for an experienced eye. This knowledge can't be summed up in a few lines of text or even pages of text.
Serial numbers - Serial numbers weren't typically used in violins until the mid-1900's and even dates were only sometimes added to labels. Often times the same people that were making violins that were labeled with one name, were making other models for the same or different exporters, the same model might even be sold with two or more different labels to different exporters, maybe with just a different varnish. Companies also purchased the instruments unvarnished from many different small output makers, and then varnished them in-house so they would all have a similar look. Often times these labels weren't inserted until they arrived in the US (all that was required by import laws was a country of origin and possible the words - "Made In"- see below). Serial numbers in violins also in general denoted lower quality as it implied mass production rather than being hand made in the cottage industry like many violins were made. A few makers did add dates and/or serial numbers, but they were generally the top tier ones such as Roth. Many times you will find that the dates added were not correct anyway as the maker predated the instruments by a few decades or just used the same pre-printed labels for many years. Some wholesalers in the US did include serial numbers starting somewhat earlier than the 1950's. As they were selling directly to the dealers, the instruments were always known exactly what they were. Typically violins were made to denote a model and the actual maker was of secondary importance. So, if your violin has a serial number, it is almost certainly a post-1900 or even 1950 instrument.
There may be some clues on a label that make it very evident that an instrument is not as labeled. Rarely would someone insert a label of a lesser makers work in an instrument. So you won't see a JTL label in a high end Roth.
Before jumping to the conclusion that you have a rare violin by one of the great masters, consider the following because the chance is extremely high that you don't. In the end. the best way to know is to take your instrument to a violin shop to have it looked at in person.
What is Printed on the Label
If its label says that it was made in the 1500's - 1800's and it has any blue ink on it--blue ink was not invented until the early 1900's, so it would have been made or at least labeled after that time.
In 1891 the McKinley Tariff Act was put into law which required that items that were imported into the United States be marked with the country of origin. Also, if the label includes any English, it was made for the US market - the vast majority of the European factory instruments were made for export to the US.
In 1914 this act was revised to require that the words "Made in" be used.
Once again in 1921 the act was revised to require that the country of origin name be in English.
By Country
Japan - A violin labeled "Made in Japan" was probably made after 1921. Prior to 1921, instruments most likely have been labeled "Made in Nippon." After WWII (1945-1952), during the US occupation of Japan; items made for export were marked "Made in Occupied Japan" or perhaps "Occupied Japan."
Chinese violins were usually labelled simply as "China" if made in the period 1891 to 1949 or post 1978. "Republic of China" if made from 1949 to 1978, or sometimes "People's Rep. of China" in the 1970s.
Germany - Violins labeled "Made in Germany" are most likely manufactured between 1921 and 1939. After the split of Germany until its reunification in the 1990's, labels were marked "Made in West Germany" or "Made in East Germany." This basically means, if your "attic" violin says that it is an Antonio Stradivari 1707, but it also says "Made in Germany," the violin is obviously NOT an authentic Stradivari, but a factory-made copy. If it is marked Made in West Germany or just West Germany, it was made between 1949 and 1990. There are some instruments that were made in Occupied Germany in the 40's and 50's that still say "Made in Germany".
Label says "Italia" or "Deutschland"– made from 1891-1914
Label says "Made in Italia" or "Made in Deutschland"– made from 1914-1921
Label says "Made in Italy" – made after 1921
Label says "Made in Germany" – made from 1921-1939 or post 1990. From 1939-1945 instruments did not flow out of Europe due to the war and only trickled out from 1945-1949
Label says "Made in West Germany" or "Made in East Germany" – made from 1950-1990. Marked "U.S. Zone Germany" are from 1945 to 1950
If your label says simply "Saxony" or "Saxony law" it's probably post-1891, but before 1914. Before 1891 it might say Sachsen.
Label says "Made in Czechoslovakia" - from 1918-1993. It was spelled Czechoslovakia from (1921–1993) It was spelled Checoslvacia or Cecho-Slowakia from 1918-1921.
Label says "Made in Bohemia" made from 1914-1918 when Czech and Slovaks state was formed, just Bohemia from 1891-1914
Label say "Made in the Czech Republic" made after 1993
For more on Strad and Guarneri labels, see the section above.
Note: Keep in mind that the country of origin did not have to be part of the main label, and often it was on a second label inserted by the first. That way, no mater where the instrument was to be exported to, it was easy to oblige any specific countries laws. Sometimes this second label has been removed and other clues need to be applied.
The look of a label.
In addition to what is written on a label, how the label looks is just as important.
Prior to around 1850, labels were primarily made form what is called "laid paper". This was a technique that uses linen fibers from old rags, The fibers were divided by size and color and put in a water bath. The fibers were then screened and let to dry, the paper was rarely an even thickness. Once the fibers were dry, this formed the "paper" and the wire screen left an imprint in the paper. Old paper violin labels will never be really smooth and white. The print was also hand done with lead type, like old books and newspapers were printed and this the type was pressed to the paper.. The pressure from the press would leave the printing slightly indented and the ink that was used would not run in the paper leaving a very crisp and clean outline.
Here is a piece of laid paper from a manuscript from the mid 1700's showing the screen lines.
After 1850, labels were more likely made from wood pulp. This "Woven" paper will not have those screen lines and the type is less clear. The paper makers, in order to keep the ink from running, sized the paper with alum. Over time, this acidic alum coating made the labels less stable. These labels were thus more prone to curling and changing color (browning unnaturally).
So an appraiser will look at the color of the label, both the wood and the label on a very old violin will darken. Edges of a label on a more modern instrument may curl up exposing a lighter shade of wood beneath, sometimes a clue that the wood was treated to make it look older than it is. Sometimes a label will appear to have been removed, often a second line will appear where a bigger or different location label had been, sometimes a label is removed for a repair or when an instrument has been re-graduated.
However, on a well planned out forgery, it is not impossible to get old paper to print a fake label on and modern laid paper is still made.
Much of the above information on labels has been copied by another website, word for word - Violinmakerlabels.com (without giving its source). I have spent decades learning this information, my site was started in 2011, the above-mentioned site - not until 2014, you make up your own mind. They have added many pictures of labels, some of which may not be authentic and may cause confusion. In addition, theirs is an E-commerce site as they are selling label reprints. I can't find any credentials for the person that runs this site, but they do sell all sorts of stuff on Etsy that is unrelated to violins. Again, you make up your own mind.
If you are interested in what a real label looks like for a specific maker, please don't hesitate to contact me, if I have it, and I have thousands, I will be glad to provide it to you at no charge. But do remember that just because it might look authentic, it is the instrument that needs to be examined to see if it is authentic, a correct label will just be icing on the cake.
|faciebat, fece, fecit or me fecit
|made, finished
|me fecit - "made me" or "made by"
|in the year
|Faciebat Anno 1717 = "Made in the year 1717."
|in or a
|in or of
|in Mittenwald
|student of
|descendant of
|after, i.e., copy of
|sub titulo
|patron saint
|Fr. or frater
|brother of
|son of
Neck Grafts: By about 1820 or as late as 1840 most old violins, except those with the original old style baroque necks still in them, have had neck grafts. Around 1780 the pitch that the orchestra was tuned to, changed from around 420 Htz., after this time most necks were changed out. This pitch has gradually been raised, it has been as high as 450 Htz, but the standard is 440. Because of the higher tension from the strings, the neck needed to be made longer and set in at a different angle, in addition to some internal changes. These changes didn't happen over night, but it means that if your (non baroque set up) violin does not have a neck graft, it was most likely made after 1820-1840 no matter what it says inside. Sometimes these grafts are easily seen and other times they are hard to see, there are also many instruments with fake grafts, done to make the instrument look older than it is. There are some old instruments where the entire neck and scroll has been replaced for various reasons and these are a little harder to detect. As always, the instrument should be looked at by a professional to ascertain its age and value.
A lot of especially old instruments have had their edges built up, so it might look like the instrument is made from laminated wood.
There are other ways to tell an instruments age, but they get into some very close up examination by someone that truly knows what they are looking for, not things that a novice could identify by a few lines of text here and where an informed interpretation will need to be made.


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Daniel starr 02 14 1963 Danni ashe and lisa lipps Danni ashe in the forum Danni ashe vs ebony ayes Danni ashe as lara croft Danis schlo in der wolken Danii minogue this is it Danis schlo in der wolken Danni ashe in blue bikini Danni ashe with a man Daniel radcliffe on conan obrian Danielle fishel in a bra Danni ashe girl on girl Danni ashe and lisa lipps Daniela pestova and si 95
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Kelley Platt, the company's president and CEO, says that transportation changes many districts are making — from running buses longer to increasing walking distances — have reduced the need for new buses and aren't likely to be reversed. In turn, the OEM is focused on becoming more cost-effective in its manufacturing while maintaining quality. Platt discusses the market shifts, cost of ownership and product developments with SBF.
From operating alternative-fueled vehicles to installing pollution-control equipment on buses to reducing idling, pupil transportation operations are doing their part to provide a healthy and safe ride to and from school for students. Here, we provide details on these and other environmentally friendly practices at school districts and contractors throughout the country.
Adjusting your parts inventory to fulfill the needs of your technicians and to address the repairs that occur most will help bus maintenance and parts ordering in your shop run smoothly.
Speakers during the NAPT Summit discuss such issues as bullying, wheelchair use, training and alternative fuels. Attendees also see several new school buses.
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