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When the Who re-entered the recording studio in September 1977 following a couple of years on the road, it wasn't in the best of circumstances. For one thing, constant touring had been taking a toll on Pete Townshend's marriage, so the composer/guitarist determined to turn things around by adhering to office hours — hardly a recipe for no-holds-barred creativity. And after more than a decade of hellraising, Keith Moon turned up in no shape to drum at an acceptable level.
Moon relocated from Los Angeles to London for rehearsals, which took place at the band's Ramport Studio in Battersea, and right from the start it was clear that he might just have an attitude problem. On one of the first days, bored with all the hanging around, he used his gold-plated lighter to set a noticeboard on fire; and when producer Glyn Johns' assistant, Jon Astley, assiduously set about miking the drum kit with a setup far more intricate than the simple technique which Johns had traditionally employed, his work was quickly undone in classic Moon fashion.
"Glyn trusted my engineering, and for the first time he was interested in getting away from big, open miking and actually trying something different with close miking," Astley explains. "He was open to some of the things that I wanted to try and do, and it was quite interesting that he would let me do that — I used a bunch of different mics on Keith's kit, and Glyn came in the next day and said 'OK, we'll try it.' Up until then, Glyn had only ever used three mics on a drum kit, so it was a big step for him to take. You see, the sort of ambient recording thing had been and gone, and this was the disco era when everything was in your face and very dry and very, very close-miked.
"On the bass drum I used an AKG D30; I had a Neumann KM84 on top and underneath the snare; I used a Shure SM58 with a pad in it for the hi-hat; overheads were Neumann U87s; and for toms I used anything I could find that matched, such as Sennheiser 421s. Then, the day after I'd set all this up, Keith came in and went around the kit for me. I just wanted to make sure the stereo imaging was OK, so he played and then asked 'Is that all right?' I said 'Yeah, that's fantastic,' at which point he stood up and walked straight through the bloody kit. He obviously was aware that I'd put a lot of work into it, balancing the whole thing, but I just thought 'Oh, well, welcome to the Who. Here we go..."
Not that Jon Astley was all that unfamiliar with the band members and their idiosyncracies. His sister Karen was then married to Pete Townshend, who had initially bonded with the teenage Jon by taking him to some of the group's gigs back in the mid-'60s. "Pete was courting Karen at the time, so it was probably to keep my parents happy that he'd take me off their hands," Astley surmises with a smile. "I was a Who fan anyway, and although I was a bit young to be a Mod [Astley was born in 1951], I embraced the whole Mod thing. Then, after my sister married Pete and I finished college in 1971, I bought a house in Twickenham, not far from where they lived. After working at the Radio Luxembourg studios for a couple of weeks, I then got my big break, working as a tape operator at Olympic in Barnes. For me, this was the home of rock & roll — the Stones had recorded there and, very soon after I joined, the Eagles were there, too, and that's when I met Glyn Johns."
Photo: Harry Goodwin / Redferns
During his time at Olympic Studios, Astley worked on David Bowie's Diamond Dogs as well as Tim Rice and Andrew Lloyd-Webber's Jesus Christ Superstar. In the mid-'70s, he became full-time assistant engineer to Johns, producer and/or engineer of choice for everyone from Led Zeppelin, the Eagles, Eric Clapton, Joan Armatrading and the Steve Miller Band to the Beatles, the Rolling Stones and the Who. "Glyn and I did a couple of Eric Clapton albums together, Slowhand and Backless, on which I was officially assisting, but some days Glyn didn't show up and Eric would say 'Oh, let's do a whole track. We'll show him!' In fact 'Tulsa Time' was all me — producing, engineering, the whole lot — and Glyn was fine with that. He didn't mind at all. He thought it was part and parcel of the job, and we got on very well.
"In '77, Glyn came up to me and said 'I don't think there will be a conflict of interest, but I have been asked to do the next Who record. Because you're working for me, I can't see that it'll be a problem. But if you do, then say so.' I said 'No, that's all right. I'd love to do that with you.' So we went to Battersea, to what we called 'The Kitchen', which was Ramport Studio, and started on Who Are You."
Housing a newly built custom Neve 8088 black 40-input console, a 24-track 3M tape machine and 16-track Studer, Ramport had what was purported to be one of the first quadrophonic control rooms, with four huge JBL speakers at the front and two at the back.
"Pete would come in with a new song, which would serve as the backing track for the Who to perform on, and John [Entwistle] would do the same," says Astley. "Pete had a Polymoog that was programmed to play his backing tracks, and then the other guys would overdub their parts. The problem was, Pete was bringing in 24-track demos and Glyn wanted to work 16-track, because the sound coming off a two-inch head block with 16 tracks was so much better than a 24-track with Dolbys and everything else. In fact, the Dolbys at Ramport never seemed to be lined up properly — one day it used to sound bright, the next day it would sound dull, and I could never tell what was going on. Every night there was a different line-up of maintenance men, and the result was that things never sounded the same from one day to the next. It was very, very odd."
Not that this was the biggest problem during the recording and overdubbing sessions that took place during the last third of 1977. "Every time we came to overdub Keith, it wasn't great," remarks Astley with considerable understatement. "His timing was out, which was unusual for him, and this became frustrating for everybody. He was drinking a lot and taking drugs to stop himself putting on weight — which wasn't making that much difference — and while he was still the jovial Keith character, it sometimes wore a bit thin with everyone else."
With tensions mounting, something had to give, and this is precisely what happened during a playback of 'Sister Disco' on Thursday, October 27, 1977. "Roger leaned over the desk while Glyn was sitting there and he said 'Can I hear a bit more bass?'" Astley remembers. "Glyn stopped the machine and said 'What?' and Roger said 'I just want to hear a bit more bass in the mix.' Glyn said 'We're listening to all this fucking work that they've done, and you want to hear a bit more bass?' At that point, things exploded. It was unbelievable. They both stormed out, and then I heard this kerfuffle in the corridor and Glyn came back in the control room with tears in his eyes, holding his nose and saying 'That's it. I'm going home.' Roger had nutted him and driven off in his Ferrari."
According to Daltrey's own recollection several years later, he'd told Johns that he thought the strings made the track sound over-produced: "He called me a little c**t, so I thumped him."
Thereafter, by not turning up at Daltrey's night-time vocal sessions, Johns basically delegated responsibility for producing these to Jon Astley. Not that reborn family man Townshend was there, either. "Pete would often leave the studio at four in the afternoon to pick up his kids from school, and we wouldn't see him again," Astley states. "Roger, on the other hand, only wanted to do his vocals in the evenings, so my days were very, very long. In fact, I remember Pete leaving when I was preparing to do a vocal session with Roger, and he said 'Make sure he sings the right notes.' I thought 'Oh, is that my job? I suppose it is now.'"
Drinking & Singing
The bar at Ramport Studios amounted to a fridge in the corner of the studio, out of which most present drank port — rock & roll! Entwistle preferred wine, and Moon indulged his taste for Coca-Cola mixed with whatever spirits were available, but Daltrey asserted that the port was good for his vocal cords.
"His voice was very good," Jon Astley confirms. "It held up when we put him under great strain, although he only did a lead vocal about once a week — it wasn't like he was doing two or three a night — and the two of us had great fun experimenting with different mics. I had cardioids and figure-of-eights, one above the other, to put his vocal into stereo by bringing it up on four channels... of course, you can buy a microphone now that does all that, but back then we had quite a hoot trying different things. The only thing was, it kind of made you sick when you listened to it, because if Roger moved slightly left or right the stereo image would move around in the speakers. I remember thinking 'I'm not sure whether or not this is a good thing,' so I ended up mostly using one Neumann U87 with a Urei 1176 on it.
"Still, something I didn't notice during the Who Are You sessions, but which became evident when I worked with Roger during the '80s, was that if you go past four or five takes with him, even though he's still singing perfectly, he does lose an edge. It's very difficult to say exactly what that edge is, but it's a really good tone that cuts through stuff, and that disappears when his voice smooths out. Although that initially sounds nice, it isn't nice at all in real terms. And unless he's been on the road, singing every night, that happens in the studio after four or five takes. Having said that, I did comp his vocal from multiple takes on 'Who Are You', and he also had to come back in and sing 'Ah, who the hell are you?' for the radio version, and I then matched it up. After the track had been picked as the single, we were worried that radio wouldn't play it because of him twice singing 'Ah, who the fuck are you?', so I had him come in and redo those parts when I was mixing the record at CTS in Wembley.
"I also remember getting Roger back to try to do some harmonies with himself on certain songs. However, he's one of those great singers who's note-perfect when doing a lead vocal and knows what he wants to do, but struggles when it comes to singing backing vocals. He'll pick harmonies that cross, and if you say 'I just want the third harmony on this line,' he might have a hard time. However, this seems to be a common thing with lead vocalists."
Things staggered on until the end of the year. That December, string sessions took place at Olympic, with Jon Astley's father Ted — composer of the music and theme tunes to such well-known British TV shows as The Saint, Danger Man, Department S and Randall & Hopkirk (Deceased) — taking care of the arrangements for 'Had Enough' and 'Love Is Coming Down'. Then it was time for a very welcome Christmas break; a break that quickly evolved into an extended sojourn after Pete Townshend put his hand through a window and Roger Daltrey had surgery following a throat infection. Only in mid-March did the band reconvene, this time at RAK Studios in St. John's Wood, where Glyn Johns was interested in trying out the API console and, more to the point, experimenting with a much-needed change of scenery. This lasted less than a week.
"I remember an extraordinary day at RAK when Glyn brought in another bass player and I thought 'This is a bit funny,'" Astley recalls. "You see, John wanted to play kind of lead bass and Glyn felt they needed someone to play solid-bottom bass to nail down '905', which was very John-orientated. As it happens, John was fine about it. He went 'Yeah, yeah, whatever. Have a go,' and so in came Dave Marquee — who'd played on the Joan Armatrading sessions that I had done with Glyn — and we then had this very strange session where we tried to record a backing track with drums, two basses and keyboards. John had actually brought in a backing track that consisted of all these synths, and it was on two tracks of the 24-track machine... I'd left the first eight tracks and was recording the band on the last 16 tracks, but the maintenance man had wired up the remote with the wrong cable and when I put the last 16 tracks into Record it wiped the first eight. We were 10 seconds into it and I went 'Hang on a minute! Stop!' We'd already wiped John's backing track, although by managing to stop it before we got too far into the song I was able to copy a verse and splice it onto the front.
"I was thinking 'Oh no, I don't believe this day, I don't believe this day.' Keith was awful, Glyn went home early, the rest of us went out for a bit of dinner, and I sat down with the Who in a restaurant in St. John's Wood where they told Keith that he was out of the band. It was a case of 'Unless you do something drastic, Keith, we've got to find a new drummer.' I think Keith thought he'd been playing all right, but his attitude was like 'Oh yeah, OK. Whatever.' He probably went home and got depressed about it, but at the time he appeared to take it in his stride."
Another break followed, this time for a few weeks, before the sessions resumed at Ramport that April with Keith still behind the kit but without Glyn Johns behind the desk. Officially, this was due to a prior commitment, but there can be little doubt that he'd also had his fill of the Who. Suddenly, Jon Astley found himself producing as well as engineering.
Photo: Richard Buskin
"It was strange," he recalls. "The band came to me and said 'Er, we'd like you to take over as producer... if that's all right with you.' They were very reasonable! They seemed to have great faith in what I could do, although I have no idea why. I had never produced anybody before. I suppose for all they knew I could have gone off with Glyn, instead of which I thought 'Oh, yes please. Thank you very much. I've always wanted to produce the Who. I'm your man!'
"To be honest, I'm sure they just wanted to get the record finished. And I suppose my role changed, insofar as I was suddenly putting forward some of my own ideas — we had a piano player in, but I felt that Pete's piano on one of his demos was better. I said 'I'd prefer you to play it, Pete,' and I also suggested that he sing the middle eight. So I was contributing towards the production, which was something I'd always wanted to do. Fortunately, they were very, very open to suggestions."
But didn't Astley's promotion irk his erstwhile mentor, Glyn Johns? "No. If anything, it caused more of a problem between me and Pete. He said 'This is work, that's family. They're different things.' He was trying to be a normal dad and have a normal relationship with his family while making a record for this legendary rock & roll band. It was very, very odd. I remember him hating the drive to and from Battersea, so he bought himself a speedboat, thinking he could belt up and down the Thames at 90 miles per hour. He'd get to Battersea quicker than if he was driving... of course, he was wrong.
"When it came to his guitar playing, he did let it rip every now and again. For instance, when he did the main part with a Gibson Les Paul on 'Who Are You', recorded in the control room by Glyn, using a Gelf preamp and some nice plate echo, everybody stopped and went 'Shit!' He reminded us of how great he was. And this must have been when Pete was starting to go deaf in one ear, because he had a specially built headphone box that would cut out whenever anything got too loud."
Aside from the overdubbed lead vocal, lead guitar, bass, drums and Rod Argent's piano, most of the title track comprises the demo that Townshend recorded in his home setup, including the acoustic guitar, rhythm guitar, keyboards, handclaps and omnipresent backing vocals that he tracked himself. Forget the promo video, filmed at Ramport in early May of '78, which features the band members all gathered around the mic and working together as a band — in reality, their parts were overdubbed separately. On previous records the band had played together, even when overdubbing, but this time around Keith's faltering abilities dictated otherwise, and this was hardly aided by the six o'clock nightly routine of a maintenance engineer announcing 'The bar is open, gentlemen.'
Photo: Richard E Aaron / Redferns
Little was straightforward on the Who Are You project, which saw the band's collective spirit showing definite signs of wear and tear. Little, that is, aside from Mr. Reliable, John Entwistle; ever present, ever consistent, he delivered few suprises both in terms of his demeanour and his bass-playing virtuosity. "If there was nothing to do, John would simply replace his bass parts," Astley says. "He'd set up exactly the same sound and say 'OK, run the tape,' and he'd play exactly the same thing. You could A/B between his bass parts over the course of five months and they'd all be exactly the same. Still, at least he was always there, staying on in the evenings to give Roger encouragement when he was singing, and he was just great to have around. It was also the first time he'd written three songs for an album, although that was probably because Pete, quite incredibly, had quite a few songs vetoed by Roger: 'Nah, I can't hear myself singing that.'"
Meanwhile, given one more chance, and with his back now firmly up against the wall, Keith Moon finally got his act together, laying down all of his drum parts within about 10 days. "He was great," asserts Astley. "The band couldn't believe it. When they did '905', which was bass drum, snare, off-beat, on-beat, everybody went 'That can't be Keith playing!' It was so unlike him. The timing was great and it was difficult to do, but he pulled it off. The only thing on which he couldn't play, which Pete warned me about, was 'Music Must Change'. Pete said 'It's in 6/8 and he doesn't feel 6/8. He never has, he never will. Don't even go there.' He was right. We ended up putting footsteps on the track. On Pete's demo he was walking around in a circle, and had it been quadraphonic it would have been wonderful to listen to — you could hear his squeaky shoes, and the sound of him walking around in a circle was the pace of the record... I mean, never mind 6/8, Keith never really felt 2/4 either. He felt orchestra — timpani here and big cymbals there. It was acting, it was theatre, and he really was great. I loved him.
"After completing all his drum parts, he got a job working for the Who as a PR man. He used to come into the studio and announce [in a very authoritative, upper-crust voice], 'Yes, well, I have another meeting today. I have to go and see these people...' He'd also go riding in Hyde Park. He just loved playing the English gentleman. Very odd."
The Producer's Intuition
"Glyn Johns is the only person I've ever worked with who knew when a hot take was about to happen," says Jon Astley. "He'd look at me across the control room or sit beside me at the desk and say 'Mark the next one on the box,' and nine times out of 10 he was right. He just knew when the band was about to come up with the right performance. With Joan Armatrading he was right every time. When we were recording 'Love And Affection' he would say 'We're not quite there yet, but the next one will be,' and then he'd say 'Got it.'"
When it was time for the mix, Jon Astley initially got the cold shoulder as a result of the Who getting cold feet. "Pete came to me with this extraordinary excuse," Astley recalls. "He said 'Jon, this is the first thing you've ever produced, and we're worried that, if it backfires and becomes a complete flop, it won't be good for your career.' I thought 'Oh yeah, you fucker. I know what you're thinking.' Of course, I just said 'Oh, OK, Pete. All right,' and he said 'We've asked Glyn to mix it.'
Photo: Michael Ochs Archives / Redferns
By this time, I was working with Glyn on Eric Clapton's Backless album, so I asked 'When's he doing it?' 'He's doing it at Olympic next week.' 'Oh, right. I wondered what I was booked for.' As a result, Glyn and I spent an excruciating few weeks inside Olympic's Studio One, where Glyn would push up a fader and give me this quizzical look across the room, as if to say 'What the fuck's that?' Then he'd push up the vocal and sigh 'Oh, you used a compressor on the vocal.' It was awful. Anyway, I sat through that, put together the master and delivered it as per his instructions, only for the Who's management to reject it and say to me 'Jon, you've got to mix this.' After all, I knew the record inside out, I knew what I was doing and I had an idea as to where I was going with it, and they heard that in my rough mixes. So, it was quite a step for them to take, rejecting Glyn's mixes, but they were very, very unsure about the record because it signalled a big change of direction in terms of Pete's writing and they were obviously quite worried.
"John was with me for the mix at CTS, and the Neve we were using was the first ever board to have little faders on motors going up and down. It was incredible. Then again, thanks to the great big motor, it was impossible to grab hold of a fader for just a second. I kept thinking 'Oh, I wish I could lift that snare drum just there,' and of course I couldn't. Anyway, after I had finished mixing the album, we had a playback session at Ramport, everybody loved it, and [management exec] Bill Curbishley came in and said 'Jon, I've got a pair of Concorde tickets here 'cause I know you love flying, and I want you to go and master the record in New York.' All my life I've loved aircraft, and the opportunity to fly on Concorde was amazing, so off I went to Masterdisk. That was management's way of saying 'Thank you for getting us through this,' which was really nice."
Write, Demo, Edit
The Who Are You album marked a major departure in Pete Townshend's approach to songwriting, and the title track in particular saw him using his 24-track home studio in Goring, Berkshire to the full. "Writing-wise, I think he was limited in terms of what he was trying to do," says Jon Astley, "because he was going through what I refer to as his Gilbert & Sullivan phase — 'Guitar And Pen' and 'Sister Disco'; all these operatic parts that didn't lend themselves to rock guitar. Still, he was really getting into his piano playing, and I thought his piano playing was quite astounding. On the previous album [The Who By Numbers] he'd played acoustic guitar almost all the way through, and now he was into the keyboards — all the little guitar bits in the middle eight of 'Who Are You' are from his own demo — so he was always looking for something more to learn and master for each record.
"His demos were fantastic. He came in with a 24-track demo of 'Who Are You' which was about 22 minutes long, and this consisted of one extra verse and chorus and a middle section that just went on and on into Neverland. Extraordinary. Glyn and I listened to it with the band, and he said 'I wonder what we should do with this.' Pete said 'Well, I think the middle section probably needs cutting down a bit,' so Glyn said 'Yes, that's a good idea... All right, we'll see you, um, tomorrow then, Jon.' And everyone went home! Because I knew Glyn wanted to work on 16-track, I actually edited the 24-track demo that Pete had made, and I had pieces all around the control room marked with Chinagraph, indicating where the various sections came from. God, it was such an absolute nightmare.
"I put together the middle section and I thought 'Oh yeah, that works. That's quite interesting.' Originally, it had gone on for about 15 minutes, whereas now it lasted about 90 seconds, representing all my favourite little bits. The whole thing was driven by Pete's angular rhythm guitar part, played through an ARP 2600 suitcase synth which had an auto-pan and a filter that was opening in time with the auto-pan. This created a kind of wah-wah synth sound, and since it was played in four-bar sections it was easy to edit together. Anyway, I bounced the whole thing down onto about six tracks of the 16-track, and when everyone returned we played the 16-track Studer and Glyn went 'Yeah, it sounds good. What do you think, Pete?' 'Yeah, it sounds good.' And that was it. That became 'Who Are You', along with a slightly reworked intro. The song was down to around seven minutes, and there was a further edit that we did later when we took out another verse, but the lost-verse version has since appeared on the [1996 CD] reissue of Who Are You."
At a time when punk was questioning the band's sell-by date, Who Are You resisted any urge towards bandwagon-jumping by diving head-first into synth-based prog rock and symphonic arrangements. In this regard, it's hardly surprising that doubts arose, yet the album was hugely successful following its release in August 1978, rising to number two on the American charts and going platinum in the process. The title track, released as a single the previous month, reached number 18 in the UK and number 14 in the US, yet all of this was overshadowed by the untimely death of Keith Moon on September 7 of that year — ironically, on the album cover he is sitting in a chair labelled 'Not To Be Taken Away'.
"He had got quite excited towards the end of making the record," recalls Astley, who is now a full-time mastering engineer for the likes of Tori Amos, Chris Rea and the Go-Betweens, while his remastering credits include all of the Who's recordings and others by Led Zeppelin, George Harrison, Abba, Them, John Mayall, Tears For Fears and Level 42. "I remember Keith really, really liking 'Guitar And Pen' and the things we did on that, and he was generally very up about the record. However, although he'd pulled himself together after being given the ultimatum, as soon as we finished the drum parts I know he went partying and clubbing. As it happens, John also went clubbing every night... but he did it in a very quiet way."
Lastly, whatever happened to the 15 minutes of middle section that were edited out of 'Who Are You' (see box, below)? Sitting in the upstairs studio of his Twickenham house that overlooks the home of British blues, Eel Pie Island — the house formerly owned by ex-brother-in-law Pete between 1968 and 1980 — John Astley looks pensive. "The stuff I cut out included Pete fiddling on piano and more acoustic guitar parts," he says. "I'd love to know what happened to it all. It must be on a reel somewhere, and it might be worth digging up... I bet it's down the road from here. Can you imagine putting together the original 20-minute version? The only problem is, most of it wouldn't have any lead guitar..."
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One of the most famous record labels of all time, Motown fostered a group of uniquely talented writers, engineers and musicians who often had to invent the equipment and techniques they used to keep their music at the cutting edge. Lamont Dozier explains how it was done...
Lynyrd Skynyrd 'Sweet Home Alabama' | Classic Tracks
Producer: Al Kooper • Engineers: Al Kooper, Rodney Mills
In 1973, a band from Florida and California went to a studio in Georgia to record a song, provoked by a Canadian, about Alabama - and managed to define the sound of Southern rock while they were at it.


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Issue date: Thursday, November 15, 1860
Pages available: 4
Previous edition: Thursday, November 8, 1860
Next edition: Thursday, November 22, 1860
Publication name: Fort Atkinson Standard
Location: Fort Atkinson, Wisconsin
Pages available: 653
Years available: 1859 - 1863Learn more about this publication
Fort Atkinson Standard (Newspaper) - November 15, 1860, Fort Atkinson, Wisconsin
THE STANDARD is PUBLISHED EVBRT THURSDAY, at Fort Atkinson, Jeffersdn Co., Wis> BEPCBUCAN I'N 'POLITICS. TKHMS. The STANDARD -will be furnished -to Subscribers at a yearr jn advance. RATES OF ADVERTISING. One column one year, ?45 Gt> Half column one t 2500 Quarter of column one year, 15 00 one year, (1Q 10 00 "iSqxiareone week, 00 3 insertions, 1 '50 Business Cards, one .year, 5 00 JOB PRTXTIXG. Cards, Handbills, Circulars, Wanks, and every kind of plain and orna- Taental printing done at the STANDARD office in. a neat and workmanlike manner, and at Cur prices. All letters should be addressed to J. C. KEEXEY, 'and Pfvprielor. Bravely. The world is half darkened with croakers Whose burdens are weighing them dovt n. They croak of their stars and ill And grope in the dark for a crown. "Why folk to the wind of thy fortune, Or clutch at distinction and gold If them canst not reach high on the ladder, Thou" canst steady its base by thy hold. Tor the flow er, though hid in th'e corner, Will as fautless finish its blborrt ill re.ich for a sparkle of sunshine That clouds have- not chanced Ami would thou be less a flower With thought, and a brain, and a hand? wait for the dribbles of fortune, hen thei u's something that these may com- mand Therc'< food to be won from the furrow, And that want to be hett n Tin re s marble untouched by the chisel, Days that bieak not on the forehead of June. Will you let the plow rust in the furrow I'nbuiMcd a house or a hall NOT hid the stones awake from their silence And fret as if fretting were all 1 Go learn from the blossoms and ant-hill, There s something your labor must give, Like the benooii that pierces the tempest, Strike the clod trom thy path and live. Lhe not trail thy face in the dross heap, in the track of the brainless and proud Lift the cemuents away from thy manhood; Thou rt robbing the dead of a shroud. There are words and pens to be wielded, There arc thoughts that would die if unsaid thou saunter aw ay amid roses, Or sepulcher dreams that are dead No drag the hope to the pyre, Dreams dead honi the ashes rise, Look not do-n n ou the eaath for its shadow, There is sunlight for thee in the skies. AS YOU HAVE OPPORTUNITY. BV T. S. ARTHUR. Mr. Frazier sat reading in his counting- room. He was in the midst of a piece of interesting news, when a lad came to the floor and paid. Do you want a boy, sir Without lifting- his eyes from the paper, Mr. Fraxicr answered u to the appli- cant, and in rather a rough way. Before the lad reached the street, con- had compelled the merchant to listen to a rebuking sentence. You might have spoken kindly to the poor boy, at said conscience. This is an opportunity." Mr. Frazier let the paper fall from be- fore his eyes, and turned to look at the lad. He was twelve years old, to attired, but clean. The merchant tapped against one of the in the counting-room, and the boy glanced back over 'his shoulder. A bigu from the merchant caused him to re- turn. What did you say just now Do you want a boy, sir The lad repeated the words he had spoken, hesi- tatingly, a few moments before. Mr. Frazier looked at him with a sud- denly awakened interest. He had a fair, girlish face; dark brown eyes and hair; :iud though slender and delicate in appear- stood erect, and with a manliness of that showed him to be already con- scious of duty in the world. But there did not teem to be much of that stuff in that is needed for the battle of life. Take a said Mr. Frazier, an involuntary respect for the lad getting pos- session of his mind. The boy sat down, with his large, clear eyes fixed on the merchant's face. How old are you I was twelve, sir. last replied the boy. What splendid said the merch- ant to himself. And I have seen them before. Soft, dark and lustrous as a wom- an's Away back in the past the thoughts of 3Ir. Frazier went, borne on the light from those beautiful eyes; and for some mo- ments he forgot the present in the But when he came back intp the present again, he had a softer heart towards the stranger lad- f' You should go to school for a year or two he said. I must help my replied the lad. Is your mother very poor Yes sir; and she's sick." The lad's voice shook'a little, and his soft woman's eyes grew brighter in the tears that filled them, Mr. Frazier had already forgotten the point of interest in the news after which liis mind was searching when the boy in- terrupted him. I don't want a boy said Mr. Frazier, may be I might good word for you, and that would help you, you know. I think you would make an honest, useful lad.' But you are n'ot strong." yes sir. I am strong And the hoy stood up in a brave spirit. The merchant looked at him with.- a steadily increasing interest. J. 'C. kEENEY, Editor Proprietor, EQUAL RIGHTS AND JUSTICE TO ALL. 50 A YEAH, IN ADVANCE. Vol. 2. FORT THURSDAY, XOYEHBER to, I860. is your he asked. Charles Leonard, sir." There was an instant change in the merchant's manner, and he turned his face so far away tha't the boy's eyes could not see its expression. For a long time he sat still and long that the boy won- dered. Is your father living Mr. Frazier did not look at the boy, but still kept his face away. His voice was low and not very even. No sir. He died four years ago." Where The voice was quicker and firmer. In London, sir." "How long since you came to Two years." Have you been in this city ever since No sir. We came here with my un- cle a year ago. But he died a month aft'er our arrival. What was your uncle's name Mr. Hoyle, sir." There came another long silence, during O ?O which the lad was not able to see the merchant's countenance. But when he did look at him again, there was such a new and kind expression to the eyes which seemed almost to devour his face, that he felt an assurance in his heart that, Mr. Frazier was a good man, and would be a friend to his mother. Sit there for a little said Mr. Frazier, and turning to his desk he wrote a note, in which, without permitting the lad to see what he was doing, he enclosed two or three bank bills. this to your mother." he said, handing the note to the lad. You'll try arid get me a place, sir, won't you The boy lifted to him an appealing look. O jes. You shall have a good place. But stay, you haven't told me where you live." At Xo. Melon street." Very well." Mr. Frazier noted down the street and number. And now take that note to your mother." The merchant did not resume his news- paper after the lad departed. He had lost all interest in its contents. For a long time he safe with his hands shading his face, so that no one saw its If spoken to on any matter, he answered briefly, and with nothing of his usual in- terest in business. The change in him was so marked that one of his paitners asked if he were not well. I feel a little was evasively an- swered. Before his usual time MT. Fra- zier left the store and went home. As he opened the door of his dwelling, the dis- tressed cries and sobbings of a child came with an unpleasant shock upon his ears. He went up stairs with two or three long strides, and entered the nursery from which the cries came. What is the matter, darling he said. as he caught the weeper in his What ails my little Maggy "O papa! sobbed the child, clinging to his neck, and laying her wet face close to his. said Mr. Frazier, looking at the nurse, and1 speaking with some stern- ness of manner, why is Maggy cryjng in this manner The girl looked excited but pale. She's been was her answer. No papa! I aint been said the child indignantly. lt I didn't want to stay here all alone, and she pinched me and slapped me so hard O, and the child's wail rung out again, and she clung to his neck, sobbing. Has she ever pinched and slapped you before asked the father. She does it most every answered the little girl. Why haven't you told me She said she'd throw me out of the window if I told Oh dear oh Don't let her do it, It's a exclaimed the nurse, pas- sionately. Just look at my poor leg, papa." The child said this in a whisper, with her lips laid close father's ear. Mr. Frazier-sat down, and baring the child's leg to the hip, saw that it was cov- eted with blue and 'greenish spots, all above the knee; there were not less than a doz- en of these disfiguring marks. He exam- ined the other 'leg' tad found it in the same condition. Mr. Frazier loved that child with a deep tenderness. She all to love. Her mother, between whom and himself there never had been any sympathy, died two years before; and since that time, his pre- cious apple of his been left to the tender mercies of hired nurses, over whose conduct it was impossi- ble for him to have any right observation. He had often feared that Maggy was neg- troubled himself oa her ac- a suspicion of cruelty like this never came into his imagination as possi- ble. Mr'. Frazier was profoundly disturbed; but even in his passion he was calm. he said sternly, I wish you to leave immediately." Mr. Silence He showcdrhimself so stern and angry, even in his suppressed utter- ance of the word, 'that Jane and left the room instantly. Mr. Frazier rung the bell, and to the waiter who answered it, said, See that Jane leaves the house at once. I have discharged her. Send her trunk wherev- er she may wish it taken. Here is the money that is due. I must not see her again." As the waiter left the room, Mr. Fra- zier hugged his child to his heart again. and kissed her with an eagerness of man- ner that was unusual with him. He was fond, but quiet in his caresses. Now the sleeping impulses of a strong heart were all awake and active. In a small, back chamber sat a pale, sweet-faced, patient-looking woman, read- ing a letter which had just been left her by the postman. Thank God she said, as she finished reading it, and her soft, brown eyes were lifted upward. It looked very dark, but the morning has broken she mur- mured. A light, quick step was on the stairs; and the door was pushed hastily open. Charles, The boy entered with an excited counte- nance. I'm going to have a place, moth- er he cried to her, the moment his feet were inside the door. The pale woman smiled and held out her hand to her boy. He came quickly to her side. There is no necessity for your getting a place now, Chailes. We shall go back to England." Oh, mother The boy's face was all aglow with srinbeams. Here is a letter from a gentleman in New York, who says that he is directed by your uncle Wilton to pay our passages to England, if we will return. God is good, my fcon. Let us be Charles now drew from his pocket the note which Mr. Frazier had given him, and handed it to his mother. What is this she asked. The gentleman who promised to get me a place, told me to give it to you." The woman broke the seal. There were three bank bills, of ten dollars each, en- closed, and this brief sentence written on the sheet of paper God pent your son to a true Take courage. Let him come to me to- morrow." Who gave you this she Her pale face was growing warm with sud- den excitement. A gentleman, but I do not know who he was. I went into a gieat many stores to ask if they didn't want a boy, and at I came to one where the gentleman was who bent you this letter. He spoke roughly to me at first, and then called me back and asked me who I was ancPabout my mother. I told him your name, and how father had died and jou weie f-ick. Then he sat a good while and didn't <-ay anything; and then he wrote the note, and told me that he Mould get me a place. He was a kind-looking man. if he did speak roughly at first." "Did }ou tee what name was on tho sign I never thought to look." replied the boy. I was so glad when I came away. But I can go straight to the place." will write the gentleman a note, thanking him for his kindness, and you must take it to him in the morning. How light it makes my heart feel to know that we are going back to dear England. God is good_ to us, my son, and we must be obedient and thankful." Just a little before the evening twilight fell, word came up to the woman that a gentleman had called, and wished to see her. Go and see who it is, she said to her son. Oh, mother It's the gentleman who sent the exclaimed Charles, in an under tone, coming back quickly. And he wants to see you. Can he come up There was a hasty glance of the woman's eyes around the room to see if everything was in order, then a few slight changes in attire. Ask him to come up, my she said, and Charles went down stairs again. A man's firm tread approached the door. It was opened, and the boy's moth- er and his new-found friend looked into each other's faces. Oh, Edward fell from her lips in a quick, surprised voice; and she started from her chair, and stood before him strongly agitated. He advanced, not speak- ing until he had taken her by the hand. Florence! I never thought to see you thus." He said it in a calm. kind, evenly modulated voice, but her ears were finely enough corded to perceive the deep emotion that lay beneath. But I think there is a providence in our he added. They sat down and talked long together times gone by, of the causes that separated them while their hearts beat on- ly for each the actual present in their lives. I have a motherless he said at a tender little thing that I love, and to-day I find her body purple with bruises from the cruel hand of a servant. Florence, will you be a mother to that child You have a noble boy who is fatherless, let me be to him a father. If the old love fills your heart as it fills mine, there are golden days for us in the future." And so it proved. The lady and her son did not go back to England, but passed to the merchant's stately residence, she becoming its mistress, and he finding a home there, and a truer father than the one he had, in former years, called by the same name. Do good as you have an opportunity." Only a week before the lad's application to the merchant, had this injunction been urged in his hearing, by an eloquent preacher, and the words coming to his thought, led him to call back the boy his cold, almost unkind, repulse. Many times aftei wards he thought of the incident, and of the small event on which such a life-long issue hung, almost trembling in view of what he might have lost, had that slight opportunity for doing 2'ood been neglected. A Chinese Wedding. The following description is given by a China correspondent of a Pai'is paper I was lately invited to attend the weddins of a young Chinese, a relative of a high functionary of Shanghai. You are aware perhaps that polygamy is not sanctioned bj the laws of China; no man can have more than one legitimate wife, but he may have as many of what are called little wive-, as his moans enable him to keep. The position of these infe- rior is little better than All the female1- of the upper clashes are kept in complete seclusion till their mar- riage, which is invariably settled by tlrc'r parents, and generally through the medi- um of a meijin. or kind of female matri- monial agent, whose profession is consid- ered very respectable. Tins agent makes all the preliminary inquiries respecting the fortune and position of the parties, and then consults a soothsayer as to the ad- visability of the match. This person casts the nativity of the young couple, and if he declares the stars to be propitious, the future bride and bridegroom are intro- duced to each other in the iDresence of their families, but the lady is always close- ly veiled till alter the marriage ceiemony is performed. To return to the wedding I have just witnessed. On arriving1 at the residence of the bridegroom's father, 1 foaud all the family assembled in the ancestral hall, an apartment consecrated to religious festi- val5. When all the company had arrived, the meijin, who appeared to act as mis- tress of ceremonies, requested the head of the family to take his place on an elevated at the end of the room, and ordered the bridegroom to be intioduced. The young man on entering; saluted the com- pany with crcat respect, and prostrated himself en the -floor. On rising, in obedi- ence to his father's orders, the youth ap- pioachcrl the table in the middle of the room, took up a of -R ine, spilt a few drops of it. and diank off the rest of it at one draught. He then knelt oa the floor and listened to a long speech from his fa- ther, acknowledged by bowing- to show his respect and obedience. When the father ceased speaking, he and accompa- nied by his friends and retainers, went to fetch his bride. As he stepped into a pa- lanquin which was waiting at the door, an astonishing concert of gougs and brass in- struments of all kinds began, accompanied by loud explosions of fireworks. This deafening noise was kept up till we reach- ed the lady's residence, where everybody alighted and entered the court-yard. As soon as the biidcgroom had been formal- ly announced, his father-in-law, leading the bride by the hand, came out to receive him. I happened to be in a favorable po- sition for seeing the lady, who wore a long cloak of blue silk, ornamented with coloied embroidery. She had on also. I perceived, bracelets and necklace. Her head was covered by a veil, but I could distinguish her features, and plainly saw that her cheeks had been painted white, and her lip? tinted with carmine. After a short prayer, the biicle was conducted to her pa- lanquin, the bridegroom entered his, ?nd the whole cavalcade was soon in movement. As the bride ciossed the threshold there was another fearful outburst of gongs, trumpets and fireworks. Her palanquin advanced in the midst of the musicians and a crowd of persons carrying lanterns and flags. On reaching her future home, she and her husband knelt down in the ancestral hall, while the marriage contract was read. The bonze then performed the religious part of the ceremony, which terminated with, a prayer repeated in chorus by all present. The newly married couple were then conducted to the nuptial chamber to receive their friends. The day concluded with a grand banquet. The first act of the newly married couple at the table, was to drink out of the harne cup. The bride merely touched it with her lips, the bride- groom then drank of the contents and broke the cup. After partaking of a great variety of dishes, the company withdrew, and I returned home, well pleased with what I had but stunned and stupefied by the horrid din, which had assailed my ears with but little respite for so many hours. WE don't know exactly what the "height of ambition" is, but we have seen many fussy little specimens of it, not more than five feet hiah. a poor woman thinks she can do nothing without a husband, and she sets oae, finds bhe can do nothing with A Chat about Could tho census of the rats be taken, it would undoubtedly show that their num- bers greatly exceeded those pf any -other stock kept. This, too, in spite of cats, terriers, traps, poison, and all the contriv- ances with which they are hunted, for by universal consent the rat is voted an out- cast, whose life to be forteited at sight provided you can catch him. Other races of animals have almost disappeared under like persecution. To say nothing of larg- er black and gray squir-- rels. the hateful rattlesnake, and copper head, and many minor creatures have long been unknown in the more thickly settled districts. But the rat takes up his bed and board under the roof of, his enemies, he forages boldly in the kitchen and lard- er, confidently rears his young in ,the par- tition adjoining our living rooms, and leads them forth in nightly and right merry gambols through the wainscoting. This persistence of the race is due prin- cipally to two causes. Hats are outrag- prolific. They commence breeding at the age of three months, and bring forth a litter of from eight to fourteen, and even more, five or six times a year! At the ordinary rate of increase, a single pair and their progeny, if all should live, would in throe years number Truly, but for the vigorous crusade continually car- ried on against them, there would in a few years be nothing left but rats. An- other fortunate is their easy adaptation to every kind of life. A rat is. a true cosmopolitan. He can feast with a lord, or with a peasant. He revels in the tempting luxuries of a pastry cook, but will with equal gusto feed on a flitch of bacon in the store room, or a sack of corn in the barn nor does he hesitate, upon good opportunity, to attack the poultry, the feeble lambs, and in nu- merous instances even children have been mutilated by these daring marauders. He is not particular as to climate or he nibbles at the fruit in the tropics, and shares the train oil of the There was no necessity that the progeni- tors of the existing race should receive special command to seek shelter in the ark; long before its completion, no doubt, they had found snug quarters, and laid in their sailor will tell you that his berth in the forecastle has been their favorite lurking place. You will "clcloni see one of these animals lame or diseased, or in any way infirm. When one is injured by any accident, his companions fall upon him. kill him with- out mercy, and make a complete finish of the work by eating him. The anxious mother rat has continually to watch, not only against the prowling cat, for her young are favorite morsels with the insa- tiable male, who frequently feasts upon his own descendants. Although the veriest coward when alone and when there is a chance to run, the rat when driven to a corner, or emboldened by numbers of his tribe, is quite a formi- dable enemy. A cat will hesitate to attack one unless sho may take him at a disad- vantage by springing upon him unawares; several instances have occurred of an at- tack upon persons by a horde of rats, from whom escape was made with diinculty; and it is related of a poor pie baker in London, that having missed a quantity of his pas- try, ho one night set himself to watch for the thief, and was overpowered and par- tially devoured by them. The tools of the rat, which also serve as formidable weapons, are four long sharp teeth, two in front of the upper, and two in the lower jaw. These are set like wedg- es, the outer part is covered with hard en- amel, the inner is a softer, bony composi- tion. This softer part is worn away in gnawing, which gives a sharp cutting edge to the front, with which the animal can readily make his voyage through the hard- est wood. Indeed, he must keep gnawing from necessity; for tho teeth grow so rap- idly, that if unemployed, they would soon protrude far beyond the mouth and be- come useless. A rat was -caught which had lost one of his upper teeth, and the lower had continued to grow until it formed a curved tusk reaching over to the side of his ear, and threatened to pierce his head. Until within a few years, excepting among the Chinese and a few other Eas- tern nations, the rat has been turned to no account. Some genius at length discov- ered that the skin of the rat could be tan- ned into a pliable and very fine leather, little inferior to kid, sines which, the skins have in Paris, and London also we believe, a regular market value; and, the capture of these animals has been quite a profita- ble business for that class of inhabitants "who are not above descending to the sew- ers and other vatty places in pursuit of a livelihood. We might include also1 in the profits of the ratting business, the sales mude to fancy who purchase large numbers for training dogs, particularly the terrier, to destroy so much w ith a view to exterminating' the species, as to afford vsport to the roughs that gather around the rat pits and bet upon the rat- destroying powers of their favorite dogs. The usaal methods of keeping these vermin within bounds, are too well known to need description. We can hardly hope to be entirely rid of them, bilt a faithful cat kept in the house, and two or more at the barn, will usually make the quarters too unsafe to allow any great increase. Without some they will make Seri- ous inroads upon the grain- mows and bins of the farmer, and a terrible annoy- ance to the careful, cmi Agriculturist. 1 Odd People. A new book by Capt. TM'ayne Reid, pub- lished under the title of'" Odd Peonle''' t t t gives a description of some of the sipgular races of rnea in the world. Here is one: Docs everybody know that the little republic in South' takes at its name from the Fairy City of the Venice? Such is the fact. When the Spanish discoverers sailed round Lake Maracaibo, they saw to their amaze- ment not only single houses, but whole villages apparently floating on the water. On approaching nearer they perceived that those houses werfe raised some feet above the surface, and supported by posts or piles driven into the mud. This sug- gested Venice-, and the discovered gave to these superaqueous habitations the, name Venezula, or 'little Venice, which was afterwards applied to the entire prov- ince. The "Water 'Dwellers, as the occupants of these houses are called, have a good reason for liviag in this manner. That reason be understood by word musquitoes'. Thongh too thick on shore to render existence .bearable, thesfe pestif- erous insects

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Kukla's Korner Hockey
The Healing Machine
by Paul on 08/18/06 at 12:07 PM ET
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Related story from the Arizona Republic,
It's a device about the size of a DVD player and, boy, does it pack a wallop, players say. It's the Accelerated Recovery Performance machine, and it's being used to treat injuries as well as to stretch and strengthen muscles. Players use it after practices and while they sleep, and they claim the machine has helped to keep them fresh through the rigors of training camp.more...the story mentions hockey players are using this device too...
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Constitutional and Political Background
THIS book is mainly concerned with judicial control of governmental action and in particular with judicial review. The aim of this final part is to give some idea of the environment in which judicial control is exercised. This chapter considers some theoretical issues relevant to the functions of judicial control, while the next chapter discusses the impact of judicial control on the conduct of government business.
Administrative law is concerned to a considerable extent with the relationships between different branches of government. In the first place, it is concerned with the position of administrative authorities vis-a-vis Parliament, because a great many of the functions of administrative authorities are conferred and defined by statute; and because Parliament exercises some control over the exercise of governmental functions. At the same time, the fact that actions of government can be challenged in the courts makes the question of the proper relationship between the legislative and the administrative branches of government on the one hand, and the judicial branch on the other, central to administrative law. There are several so-called 'constitutional doctrines' which have a bearing on these relationships, and it is worthwhile spending some time considering these. They are: the supremacy (or sovereignty) of Parliament; ministerial responsibility; the separation of powers; and the rule of law. All of these doctrines are to a greater or lesser extent concerned with a central issue in constitutional theory, namely that of responsibility or accountability: how can those who wield governmental power best be made accountable for the way in which they exercise it? Accountability is a form of control. The courts are concerned mainly with control by the use of law, whereas Parliament is concerned with control by means of the exercise of political power. It is with the interaction between legal and political control that this section mainly deals.


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SpeedOut Reviews
SpeedOut is an "As Seen on TV" product that's claimed to easily remove almost any kind of damaged screw or bolt in 10 seconds or less, without any drilling.
About SpeedOut
SpeedOut is a damaged screw and bolt extractor that's claimed to work with any drill, while using a patented process that removes any stripped or damaged screw in 10 seconds or less, even if you break off the entire head.
Each SpeedOut extractor is claimed to be made of professional-grade hardened steel, and to remove most types of screws and bolts, including Phillips, flat, hex, bare, or painted over.
According to the manufacturer, SpeedOut works over 2 steps:
- Drill out the damaged area using one end of the SpeedOut bit.
- Then, flip your SpeedOut over and use the extracting end to pull the screw right out.
Can you really expect SpeedOut to work as well as the manufacturer claims and to provide good value for your money? Consider the following:
Other Screw & Bolt Extraction Tools
First, although many "As Seen on TV" manufacturers like to make their products seem revolutionary, they're often just different takes on existing ones.
For example, if you type in the phrase "screw extractor" or "bolt extractor" into your favorite search engine, you'll find that they can purchased for less than what you'll pay for SpeedOut—especially considering the high, non-refundable S&H charges (more about this in the Pricing section). In fact, these types of tools are so popular that they're almost certainly available at a hardware or home improvement store near you.
Is SpeedOut Really Easy to Use?
For the most part, this depends what you mean by "easy."
In other words, extractor sets (like those mentioned in the previous section) will require that you first use a drill bit into the broken screw or bolt, remove it, and then use the extractor bit. And getting the right "feel" for the process might take some trial and error.
On top of this, most of these kits feature heated and tempered steel for good performance and longer life. However, we're not told much about the metal used in SpeedOut, other than it's "hardened" steel. And as we'll read more about in the Reviews section, this could mean everything.
Finally, if you're trying to remove a small screw that's highly damaged, it might take some creative thinking to get it out of place, which is often only learned from experience.
What Are Customers Saying about SpeedOut?
Since writing our original SpeedOut review, 29 HighYa readers have provided feedback about their experience, ultimately rating it an average of 1.5 stars and only 7% claiming they'd recommend it to a friend (as of 6/6/15).
This is based primarily on common complaints surrounding poor quality (steel is soft, bits strip or break easily), failure to work as advertised (the process isn't as easy as the manufacturer makes it seem), and poor customer service.
The SpeedOut extractor seemed to fare a bit better on Amazon.com, where it averaged 3.7 stars based on 394 customer reviews, although many complaints seemed to mirror those found here on HighYa. However, it's important to note that many of SpeedOut's positive Amazon reviews came from accounts where this was their only review (or where all reviews were posted within a very short time period), which is often an indication they might be fake.
SpeedOut Pricing & Refund Policy
SpeedOut is available in 3 different purchasing options:
- 1 Set (includes 4 different sizes of extractors): $19.95
- 2 Sets: $31.90
- 5 Sets: $59.85
Although S&H is free regardless of the number of SpeedOuts you order, you will be assessed a $3.95 "processing fee."
At checkout, you'll also be able to order an Ease-Out light bulb extractor for an additional $5.95 S&H, which claims to feature a protective shield that can help you safely remove broken light bulbs from sockets, without having to use tape balls or potatoes.
SpeedOut comes with a 60-day refund policy, less S&H charges—although this only applies to unused products, as well as a lifetime replacement guarantee.
In order to request a refund or process a replacement claim, you'll need to contact customer service at 855-355-0417.
Important note: Remember that the ultimate goal for any "As Seen on TV" product is to make it to store shelves. This means that due to the popularity of SpeedOut, you'll also find it sold through Target, Bed Bath & Beyond, and many other third-party retailers.
Can You Expect SpeedOut to Work as Advertised?
Chopping to the point: Considering the shaky online reputation for SpeedOut based on a series common complaints among consumers, it's our opinion that the extractor set may not work as well as the manufacturer makes it seem.
As such, we might recommend searching for local options from more mainstream manufacturers, which might ultimately provide you with better performance and more value for your money.
3 out 4 people found this review helpful
Speedout review
This cheap. I was trying this on the first of two wood screws I had to remove and following instructions, I broke two of the smaller bits almost immediately. At first they just spun, the "drill" didn't dig in the metal and the extractor broke off in pieces. Why do we keep buying cheap Chinese crap? I wish I had read these reviews first. I spent just about $10 or so bucks at Walgreens in the "As seen on TV" isle so I wasn't out too much. Don't buy them.
Bottom Line: No, I would not recommend this to a friend
3 out 3 people found this review helpful
Frustrated. Worthless product.
I bought this to remove plain deck screws from a wood patio deck. It wouldn't budge them at all. I followed directions precisely on different screws and using different bit sizes. Finally gave up.
Bottom Line: No, I would not recommend this to a friend
3 out 3 people found this review helpful
Don't BUY
Bits are made from cheap steel saves them a lot of money. The first screw I tried was a sheet rock screw and the drill bit was destroyed in seconds. The cutting edge of the bit rounded over and did not bite the screw. I think it's worthless if you can not even remove a sheet rock screw! Returning it to home Depot.
Bottom Line: No, I would not recommend this to a friend
2 out 2 people found this review helpful
Bought two kits via internet
The product is a scam because does not work on any screw. Save your money and do not buy!
Bottom Line: No, I would not recommend this to a friend
1 out 2 people found this review helpful
SpeedOut Purchase
I went down to my local Walmart and I saw the SpeedOut in their "As Seen on TV" section. I purchased it at the store for only $19.94. I did not have to worry about any shipping and handling. It was right there in the store. Yes, it is available in stores. I'm very happy with the product so far.
Bottom Line: Yes, I would recommend this to a friend
1 out 1 people found this review helpful
Lousy service
Don't buy from them. Bad business practices. Lousy service. They canceled my order and did not notify me. They said they didn't take debit cards, such crap.
Bottom Line: No, I would not recommend this to a friend
3 out 4 people found this review helpful
SpeedOut works.
This product worked perfectly on a steel screw that was in with loctite. It absolutely got me out of a bad jam. Received it as a gift so no experience with telemarketer's.
Bottom Line: Yes, I would recommend this to a friend
5 out 5 people found this review helpful
A scam not to be trusted
They scam you into things you don't want. If you want this item, go to Lowes or Home Depot and buy it! Pay $19.95, don't get scammed for $60.00 like they did me.
Bottom Line: No, I would not recommend this to a friend
9 out 9 people found this review helpful
Complete garbage
Bought it to remove a screw stuck in a ski mount. I usually can get the screws out easily by hand. The screw was in a female end fastened with a dab of lock tight. This should not be a difficult application for a product of speed outs claim of 10 seconds. This product is absolute garbage. Whatever application you have you would be better off using other means.
Bottom Line: No, I would not recommend this to a friend
10 out 10 people found this review helpful
Speed out SUCKS!
Stripped out a bolt that is impossible to get to on a Volvo engine block and the drill bit won't even get a bite. I absolutely have to get this bolt out before winter sets in and the water freezes. DO NOT under any circumstances buy this garbage!
Bottom Line: No, I would not recommend this to a friend
10 out 10 people found this review helpful
Would not recommend, even to a monkey.
Ordered these but have yet to remove any stripped or broken head screws. In fact, it just made it worse. I had to use a drill bit to get them out. Easier than using these things.
Also, after ordering the SpeedOut item, my newly created email was bombarded by spam from this site.
Bottom Line: No, I would not recommend this to a friend


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Health & Wellness > Blue Extras
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Blue Extras
The Blue Extras program provides Blue Cross and Blue Shield of Vermont members with discounts at participating Vermont and New Hampshire businesses that promote healthy lifestyles.
Search listing by:
- Category: select a category from drop-down menu
- Alphabetical Order: click on any column header
|Business Name
|Grateful Yoga LLC
|$12 for drop-in, $115 for 10 class pass, $120 for one month unlimited
|Montpelier, VT
|Gyms & Health Clubs
|Curves Fitness - $49 & $39 monthly based on 12 months and Curves Complete (see flyer)
|Morrisville, VT
|Gyms & Health Clubs
|$49 joining fee
|South Burlington, VT
|Gyms & Health Clubs
|Snap Fitness
|5% off month-to-month membership rate
|Berlin, VT
|Gyms & Health Clubs
|Snap Fitness 24/7 - Morrisville
|Free Enrollment
5% off month-to-month membership rate
|Morrisville, VT
|Gyms & Health Clubs
|$0 one-time service fee ($59 value), standard monthly fitness does apply
|White River Junction, VT
|Gyms & Health Clubs
|Free enrollment fee
|Brattleboro, VT
|Gyms & Health Clubs
|Middlebury Fitness
|25% off enrollment fee
|Middlebury, VT
|Gyms & Health Clubs
|Artemis Fitness
|10% off all annual memberships
|South Burlington, VT
|Gyms & Health Clubs
|Carter Community Building Association
|Membership fee pricing: young adult- $48, adult- $71, senior- $57, one-adult family- $75, two-adult family- $130, junior benefits- $10
|Lebanon, NH
|Gyms & Health Clubs
|Supreme Fitness
|10% discount on membership (excluding special) - Begins 9/1/2013
|Brattleboro, VT
|Gyms & Health Clubs
|Ultimate Fitness
|10% off the purchase of a membership
|Milton, VT
|Gyms & Health Clubs
|Green Mountain Community Fitness
|One free week of unlimited small group trainings
|Brattleboro, VT
|Gyms & Health Clubs
|The Yoga Place
|10% off all yoga classes
|Bennington, VT
|Gyms & Health Clubs
|Shelburne Health
|$10 off regular full-time rate, 3 months for $159 (not renewable)
|Shelburne, VT
|Gyms & Health Clubs
|One 75 minute performance evaluation, four 60 minute personal training sessions - $325 ($425 value).
|South Burlington, VT
|Gyms & Health Clubs
|Be Fit Physical Therapy, LLC
|10% off all rehab equipment (balls, bands, rollers, etc.). 10% off your orthotic order when fitted by one of our professionals (by appointment only).
|Hanover, NH
|Gyms & Health Clubs
|Fusion Studio
|$20 off first service and $10 off recurring monthly services
|Montpelier, VT
|Gyms & Health Clubs
|Equipe Sports
|10% off all non-sale products in stores
|*see website for different locations
|Gyms & Health Clubs
|Honest Yoga
|$100 per-month discounted membership (3 month minimum) includes unlimited classes, 10% off workshops, series, and camps, and 25% off all clothes
|South Burlington, VT
|Gyms & Health Clubs
|Pyramid Fitness
|$10 off first massage therapy session, 10% off first salt cave session, one free month fitness membership with the purchase of a 6 month membership
|Rutland, VT
|Gyms & Health Clubs
|Yoga Roots
|10% off a 10-class card and 10% off a 1 hour yoga session - Begins 9/1/2013
|Shelburne, VT
|Gyms & Health Clubs
|Significant discounts on the newest, state of the art hearing aid models through TruHearing. View details.
|Hearing Aids
|Bluewave Taekwondo
|10% discount on monthly fee
|Burlington, VT
|Martial Arts
|Gentle Dragon Taekwondo
|$20 off the beginners course
|Montpelier, VT
|Martial Arts
|Steve DeMasco's Shaolin Studios
|1 free private lession and 10% off all programs
|Keene, NH
|Martial Arts
|Villari's Self Defense
|Half-price registration and $10 off each month for up to one year (for new members only)
|South Burlington, VT
|Martial Arts
|Paul Colletti
|$20 off the regular rate of $60 for an hour session
|Rutland, VT
|Massage Therapy
|Vermont Mobile Massage
|$10 off any full-body massage
|Williamstown, VT
|Massage Therapy
|Judy Jarvis
|10% discount massage, homeopathic consultations, tuning fork sessions
|East Hardwick, VT
|Massage Therapy
|TouchChi Advanced Bodywork
|$25 off first session (new clients only)
|White River Junction, VT
|Massage Therapy
|Rogers Relaxing Massage Therapy
|10% discount on regularly-priced massage services (only one discount may be applied)
|Middlebury, VT
|Massage Therapy
|Green Mountain Oasis
|18% discount on massage therapy 60 minutes or longer
|Bennington, VT
|Massage Therapy
|Glow Beauty Lounge
|20% off massages, 10% off other services
|Burlington, VT
|Massage Therapy
|Thrive Center of the Green Mountains
|1 hour coaching sessions at $45 (unlimited), three 75-minute massage/body work sessions for $165, 20% off nutritional cleanse supplements and consultancy
|Wallingford, VT
|Massage Therapy
|Gaia Billings
|10% off massage therapy sessions of 60 minutes or more.
|Middlebury, VT
|Massage Therapy
|Killington Golf Course
|20% discount on 18 or 9 holes of golf without a cart
|Killington, VT
|Golf Courses
|Vermont Canoe
|15% off all shuttles and tours
|Jeffersonville, VT
|Outdoor Activities
|Burrows Specialized Sports
|10% off non-sale merchandise (excluding current-year model bikes)
|Brattleboro, VT
|Outdoor Activities
|Mud City Adventures
|10% off all children's programs, 20% off all family programs
|Stowe, VT
|Outdoor Activities
|Earl's Cyclery
|10% discount on home fitness equipment treadmills, ellipticals, spinbikes/exercise bikes
|South Burlington, VT
|Outdoor Activities
|The Mountain Goat
|Free Manchester & the Mountains recreation map - Begins 8/15/2013
|Manchester, VT
|Outdoor Activities
|Maple Wind Farm
|10% off a 20-lb box of mixed cuts of 100% grass-fed beef or pasture-raised pork
|Huntington, VT
|CSA & Farmers Markets
|North Star Bowl
|$2 off each game bowled
|Wilmington, VT
|Bowling Centers
|Green Mountain Acupuncture
|20% off for all acupuncture treatments
(excludes supplements)
|Colchester, VT
|Acupuncture Clinic
|20% discount
|Barre, VT
|Wisdom Traditions Acupuncture
|25% off all acupuncture treatments
|White River Junction, VT
|Five Elements Salon and Day Spa
|Discounted rates on various services, click here for full details.
|Rutland, VT
|Sundara Day Spa
|10% off all services and products (gift cards and packages excluded).
|Barre, VT
|Anytime Fitness
|10% off membership dues and 50% off enrollment fees
|Bennington, VT
|Gyms & Health Clubs
|The Gymnasium
|10% off any regular membership or credit towards a massage, personal training or a 10 punch pass visit.
|Rutland, VT
|Gyms & Health Clubs
|Curves of Bennington
|Free Enrollment Fee ($99 value). Standard monthly rates apply.
|Gyms & Health Clubs
|Killington/Pico Ski Resort
25% - 50% savings off lift tickets from the window rate. Applies to online purchase only.
|Outdoor Activities
|Gaby G Yoga
|15% off Yoga Skype Online sessions
|Gyms & Health Clubs
|Vermont Gold Mountain Prospecting
|$5 off any purchase of $50 or more
|Arlington, VT
|Outdoor Activities
Updated: 04/29/2016
If your Vermont business encourages health and wellness, please contact us to participate in our Blue Extras program and have your business advertised to our 180,000-member community on our web page and in our newsletters!
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Areas of Law
- Insurance Defense
- Personal Injury Defense
- Business Law
- Commercial Litigation
- Property Law
- Casualty Insurance
- Commercial Transportation
Peer Reviews
Average Peer RatingBased on this firm's rated lawyers5.0/5.0Peer Rating
- Lawyers rated at this firm meet very high criteria of general ethical standards
People at This Firm
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Firm DetailsFirm Size8ClientsTrinity Universal Insurance Company; Republic Lloyds Insurance Company; Progressive County Mutual Insurance Company; Unitrin, Inc.; Coca-Cola Enterprises Inc.; Ryder Truck Rental, Inc.; Old American County Mutual Fire Insurance Company; A-Affordable Insurance Company; American Hallmark Insurance Company; Cambridge Integrated Services Group, Inc. - Transportation Division; Utica National Insurance Group; America's Low Cost Insurance Company; ZC Sterling Insurance Agency, Inc.; Hydrotex, Inc.; Continental Properties; Shelter Insurance Company; Benchmark General Agency; Texas Colonial General Agency; Brink's Home Security, Inc.; Tywell Construction Company; Tywell Manufacturing, Inc.; United Automobile Insurance; Triton Claims, Inc.; Esurance; Electric & Gas Technology.
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Contact InformationFirm AddressEkvall & Byrne, L.L.P.
Lakeside Square, 4450 Sigma Road, Suite 100,
Dallas, TX 75244-4529
U.S.A.Phone972-239-0839Facsimile972-960-9517Firm Website


text:
I can use the following to create a function dynamically in javascript:
var MyClass = new Function("console.log('Hello World!');");
but when I do that, the ID will be set to 'anonymous'. I would really like to give such a function an ID for debugging purposes; that's the id that's shown when you console.log an instance of such a function(class). Is there a way to do that?


text:
Like many, I had problems with Shimano's slick new EZ-link.
But has anyone tried the Dura Ace 7900 chain with the old 7800 pins?
If so, how's it workin' out?
Shimano has already reverted to the pin method. It works fine. We stopped using the quicklinks on our customers bike because of complaints about clicking noises coming from said link.
Mes compaingnons cui j'amoie et cui j'aim,... Me di, chanson.
Same pins work. Make sure they are 10-speed pins. The ones that work have either two or three grooves (both are OK).


text:
Availability: In stock.
The PT1280PPP is a heavy duty pan/tilt security system from Pelco developed for surveillance locations which may have corrosive environmental situations. The PT1280PPP security heavy duty system comes with a 360 degrees pan rotation, UL & NEMA Type 3R certification, pre-wired support for feed through, plus a high torque AC motor, and externally adjusted pan/tilt limits. The PT1280PPP security pan/tilt system also features an adjustable heavy duty worm gear, a preset positioning capability, a plate and cast aluminium construction, as well as a 120 VAC power supply, and an auto/random scan operation. This excellent heavy duty pan/tilt system has a housing that is able to support a maximum load of 100lbs, it also has a worm gear final drive that is heavy duty and is suitable for prevention of wind drift during harsh type weather conditions in a surveillance location.


text:
Create a free account to check out faster, store multiple shipping addresses, view and track your orders in your account, and much more.
Please enter your password to continue.
This ringlet-loving sampler is your chance to try DevaCurl's innovative curl care system. Each trio includes a creamy lather-free cleanser, a hydrating conditioner, and a lightweight, curl-defining gel. All three work with your hair's natural texture, so you're left with soft, shiny spirals without that pesky halo of frizz.
I have naturally curly hair and have tried many many products, this is decent but I had higher hopes for it. Gel left my hair crunchy but curly, I like softer curls so it all depends what you prefer. Also was not thrilled with the scent of products which is the main reason I'm taking off stars. There's other products out there that work better for me.2
I have looked forever for something that would work for my hair and I am letting it grow out finally after having it super short for years. Thank you Birchbox for carrying the line!
Anyone who has curly hair needs to try this system. Along with Shea Moisture I am finally embracing my curl at almost 50
I received a sample of this product a few months ago stuck it in a drawer and haven't thought of it since. I ran of shampoo and forgot to pick some up at the store. Out of desperation I searched through the house and found my forgotten Deva Curl sample. I was so skeptical of a no lather system and didn't think it would work on my hair at all. I was so wrong! It worked so well on my hair that I am definitely buying this system with my next birchbox order. For the first time I feel like my curls look hydrated and healthy. I feel like this is how my hair should have looked all of these years! I definitely recommend this product to all my curly haired friends!5
This 3-Step system is perfect for my hair texture. It leaves my hair feeling clean, moisturized, and at its very best. If you have fine hair this may not work as well for you. My hair is very dry, frizzy, and with loose curls. DevaCurl makes my curls look tip-top! The NoPoo is the best hair cleanser I've ever used for my hair, the One Condition is a wonderful complement to NoPoo, and the gel is a nice, non-sticky, non-crunchy definer. The scent of all these products is like candy and I love it!5


text:
Buckle Black Pieced Henley T-Shirt
- Reverse mineral wash henley t-shirt
- Raw edge reverse seam detail
- 100% Cotton.
- Machine wash cold with like colors. Do not bleach. Tumble dry low, remove promptly. Cool iron if necessary.
- Made in India.
Have a Question?
View All:
Men's Shirts
Men's Buckle Black Shirts
- Chest measures 40" on a size medium.
- Center back length measures 26".


text:
Gravestone Warrior Poster
was £3.99 SALE 75% OFF
(approx. $1.45 or €1.29)
- In stock In Stock
- Usually Ships in 1-2 Days
- UK & Worldwide Delivery
- No Worries 14-Day Exchanges
- Product Type: Poster
- Size: 61cm x 91.5cm
- Product Code: 66399
Buy now for fast delivery
Fast Delivery by Royal Mail (3-5 Days)
Product Info
Standing proudly above his slayed victims, this deadly skeletal warrior looks invincible in stature. Wearing a hooded cape, this creature of the night welcomes you to his victims tomb and dares you to step into the darkness.
Why Our Customers Love Us:
"Excellent quality and delivered within a few days"
Verified order
First time I've shopped with Grindstore... won't be the last. Great choice of products, the item I purchased was excellent quality and delivered within a few days. I will definitely be buying from this company again and I would happily recommend them to anyone.
Denise Fielding
"Top quality service goods and price"
Verified order
Fast reliable service top quality goods at a nice price. Easy to use Web page will be using again and recommend to family and friends.
Nick Newport


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"PEN is like most writers I know: passionate, principled, stubborn and willing to speak out. PEN, matter of fact, is the voice, the conscience, of writers everywhere. More than 140 centres operate on six continents, with PEN Canada considered among the most active and effective. People look to us for leadership and we, in turn, rely on members, donors, patrons, and sponsors to help us do our work. Without equally passionate and principled supporters, we can't be nearly as effective as we need to be. Please join us. Free expression matters. Your support matters."
–Charlie Foran
PEN Canada
It costs $75 a year to be a member of PEN. You can pay this as a one-time fee or distribute your contribution through the year. Writer members include, but are not limited to journalists, playwrights, editors, translators, screenwriters, radio and television dramatists, documentary makers, song-writers and other individuals in the field of writing. Student memberships are $25 a year. Contributions to PEN Canada are tax-deductible. You will receive a tax receipt for all dues and donations. You can pay your membership fee by:
- clicking through to a membership payment form below
- calling the PEN office with your credit card information
- sending a cheque payable to PEN Canada to 24 Ryerson Ave, Suite 301, Toronto ON, M5T 2P3
TEN for PEN!
TEN for PEN is a simpler, more convenient, more effective way to start and renew your membership. By giving only $10 a month through this method of sustained support, you will not only avoid receiving annual membership renewal reminders, you will help reduce PEN's administrative costs. Moreover, with your small additional donation, you will help advance PEN's vital work on behalf of persecuted writers and in defence of freedom of expression at home and abroad.
(In the comment section of the payment form please indicate your membership type – writer or student.)
NOTE: When you click through to the payment window please enter the amount you wish to donate monthly. This amount will then be drawn from your credit card each month. All monthly payments are charged on the 15th of every month. Your monthly donations will begin the month after your initial payment.
Benefits of being a PEN member
All PEN Canada members are eligible for health, auto and home insurance plans through the Writers Coalition of Canada. Check out the plan at writerscoalition.com
For more information, contact:
Pari Rajagopalan, Office Manager
PEN Canada
Phone: 416 703 8448 ext 25


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Mexican Wrestling as Art
In a bookstore in the funky California beach town of Venice, larger-than-life-sized color photographs of masked Mexican wrestlers are the focal point of a very different art exhibit.
Malcolm Venville photographed about 150 "Lucha Libre" wrestlers for an upcoming book. Translated literally, "lucha libre" means "free fighting." To many Latinos, it's professional wrestling, vaudeville, a venerable cinema genre and the Bushido code of the Japanese Samurai all wrapped up in one campy and crowd-pleasing spectacle.
Venville has made those campy characters into art objects. Equator Books has 13 of his highly detailed wrestler photos on display — including Astro Boy, Super Pinocho 3000, Raziel, Super Porky and Coco Verde, the green clown.
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Aion: The Tower of Eternity 7 by GreatQueenLinaWatch
©2012-2016 GreatQueenLina
Aion: The Tower of Eternity
chara - Elios wizard
cosplayer: GreatQueenLina
costume by GreatQueenLina and LastSoul
photo - Gundamer
wings in process - [link]
chara - Elios wizard
cosplayer: GreatQueenLina
costume by GreatQueenLina and LastSoul
photo - Gundamer
wings in process - [link]
How did you attached the wings to the costume
Чем-то Серафиму из Sacred2 напомнило)
YOUR WINGS!! and your costume they're beautiful!
How you did though WINGS??????????????
so gorgeous!
Well done I love the wings, even got the details down to the shoes i am impressed highly
wow how did u made the wings?
Can you tell me how did you make the feathers of the wings? Paper? o.o
NO COMMENT, you just left me breathless AWESOME WORK
няша в эллизиуме?))
very nice looks just like the chars!
So OOBERR amazing!!!!
your wigs are so beautiful, great job !! I must be heavy ! What material do you use to make the feathurs??
Thanks) feathers from isolon (polyethylene foam)
*-* I love your wings so much it makes me want to flip a table out of jealousy hahaha, but no, really, nice job with it all, very epic, and I can only imagine how fun it was to maneuver around with those things, I've had wing props and they were.... dangerous, lol, but not even near as big as those
No words
Absolutely incredible!! Excellent job!
даже nightwish для своего клипа на песню amaranth сделали стрёмные крылья по сравнению с этими )
очень искусно! красота!!!
очень искусно! красота!!!
Epic! I love the wings!
How did you do the feathers? they look stunning!
thats what im talkin about
what are the wings made out of..?
freaken awsome!!!!!!!!!!!
OH MY GOD! Whaou! It's amazing
Nix, I wish I could cosplay so beautifully
Holy Shit
just WOW!
mind sharring via pm how you made the wings?
mind sharring via pm how you made the wings?
That must have been an ordeal to make!
the wings are so beautiful *-*


text:
Craftsy Member since April 2012
I'm enrolled in these Craftsy classes:
Thread Art
I began crafting when I saw my first Quilting Arts magazine. I was hooked, and now belong to a very talented quilting guild. My main focus has been liturgical stoles for women ministers, but we just changed ministers, not a woman, and he loves his new stole. I also play violin in an orchestra, which keeps me busy, busy, busy. Knit also; sweaters mostly, but have joined a prayer shawl group, so will be doing that as well.
Take Craftsy with you!
Craftsy Apps for iOS and Android. Read more »


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1 Park near Liverpool, Pennsylvania
Newport, Pennsylvania 10.43 miles SW
Duncannon, Pennsylvania 12.97 miles SW
Selinsgrove, Pennsylvania 18.76 miles NE
Mexico, Pennsylvania 19.52 miles SW
Harrisburg, Pennsylvania 22.25 miles SE
Liverpool, Pennsylvania (map) | (717) 444-3200
Sites: 287 | Latest Rate: $47.00 | 17 Reviews
|Clean Restrooms:
|Clean Showers:
Sep 2015 - $47.00
One of the worst campgrounds we have ever been too. Travel with 3 other campers. Made reservations and were told we would only fit in these few sites. When we first arrived it took almost an hour for us to check in. Each of our sites was so narrow we could not put out our awning. As we were walking around, we noticed much larger sites were empty all weekend. The smell from the sewage was so overwhelming, many times you could not go out side. I have to wonder if the Health Department shouldn't be involved.
We have all the discount cards and were told they didn't take them. Also when we arrived, we were told how to log on to the internet. When it didn't work, we were then told they didn't have internet in our area. We had camped at here a few years back and it was run so much better. I see here that there are new owner. That explains a lot. Avoid this campground at all costs. - shell5
Sep 2015 - $47.00
We did not have a good experience at this campground. We stayed at site 247. One positive was that the site was level but very small. Be aware that some sites share utilities from another site. For example site 246's water and electric was on our post so they had to run it across to their site.
Lots of seasonal people here. The seasonal campers behind us left their dogs out all weekend (they barked constantly) and threw the dogs' waste into the drainage ditch between our sites. They also walked through our site to get to their site. Very rude.
We had weak water pressure the morning we were leaving. We called the office and they said they would send someone over but no one came by the time we left.
They also double booked our site, but fortunately well in advance they recognized their error and moved us to another site months before our arrival but we moved from a water view site to a non-water view site. So not quite the same thing.
Occasional sewer smells in the campground. We did see employees with a snake in one of the sewer man holes so apparently there was an issue.
The hayride trailer broke one of its wheels while we were on it. Fortunately no one got hurt. The actual rim separated from the axle.
I received a response from the campground after complaining about the above items. New owners have taken over the campground on August 28th and apologized for the issues we had during our stay. They recognize that there is a lot of items they need to address including the shared utilities, which they plan on updating soon. They also plan to address the rules of the campground including cutting through people's campsites. They were not aware of the dog issue in the site behind us but plan to investigate. This campground has a lot of potential and hopefully the new owners can make it what it should be. - Timmy2
May 2015 - $36.00
The first night was Passport America and then AARP for the next two nights. The site was level and big rig friendly. There were many seasonals but still sufficient sites available. The ferry stopped at the campground to travel to the other side of the lake. There was only one grocery store 10 miles away with no other shopping. Nothing to do in the area but a relaxing campground. Did not use the laundry facilities. No dog park but able to walk dog in campground. Easy to ride bicycle in campground. - Fulltimersrv


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NEX + Remote Live View with Digital Data Link
Started Nov 22, 2012 | Questions thread
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Richie Beans • Regular Member • Posts: 278
NEX + Remote Live View with Digital Data Link
I'm looking to remotely focus, shoot, and control all aspects of my NEX5 (N/R?whatever). I understand that I can use a DDL system to see from a remote monitor, what is seen in a viewfinder with select DSLRs; but at $7K for an industrial grade system, there has to be a less expensive option.
Has anyone hooked up their NEX to a remote live view technology (DDL or otherwise) and taken live-view images from, say, several miles away?
Richie Beans's gear list:Richie Beans's gear list
NEX5R +1 more
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Sony Alpha NEX-5
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