text: A monster runaway victory in Kentucky, a track record in Florida, a stirring two-horse battle in the deserts of Dubai, and a four-horse blanket finish in Arkansas. After Saturday's fast and furious action on the Derby trail, racing fans all over the country will be craving a fix during next weekend's lull before the major stakes frenzies of Apr. 7 and 14. But until then all we can do is figure out what to make of Balto Star's performance from another planet in the Spiral Stakes, A P Valentine's brilliant wake-up call in a Hialeah optional claimer, the gutsy victory of Express Tour over stablemate Street Cry in the UAE Derby, and the thrilling score by Crafty Shaw in the Rebel Stakes.We're actually going to put the Spiral Stakes on hold to discuss A P Valentine's victory, as there no doubt will be a diversity of opinion regarding the quality of competition and blazing-fast surface. The most important aspect of A P Valentine's victory was not the scorching time of 1:40 1/5, but the fact that the son of A P Indy did everything the right way, showing brilliance, a quick turn of foot, and a good deal of professionalism, and is back on schedule to compete in the Blue Grass Stakes. Yes, he broke Hialeah's track record for 1 1/16 miles over a track which saw his stablemate Albert the Great sizzle 1 1/8 miles in a record-shattering 1:45 2/5, but what is important is that he did it under no urging in the slightest from jockey Eibar Coa, and still managed to come home his final sixteenth in :05 4/5. Even with the lightning-fast surface, how many 3-year-olds could have run faster, without any encouragement, and how many could have closed in quicker time. We can't remember any 3-year-old ever running 1 1/16 miles that fast.Yes, he defeated a 4-year-old named Six Fifteen who had recently been claimed for $32,000, but that horse was a solid graded stakes horse in Canada last year, finishing right behind such major U.S. stakes horses as Milwaukee Brew and Kiss a Native. He seemed to be rounding back into form, winning his last start by 2 lengths, and was now in for $150,000. Yes, he hasn't run in a stakes this year, but let's remember, he did defeat Point Given, City Zip, Yonaguska, Ommadon and other quality horses in the Champagne Stakes last year, coming off a maiden sprint, while Point Given had already won the 1 1/16-mile Kentucky Cup Juvenile.Coa rode a smart, patient race on Saturday, not panicking after Six Fifteen bounded away to an 8-length lead midway on the far turn. All Coa did was flick his wrists slightly and A P Valentine took off, cutting into the margin with every stride. Turning for home, Coa kept A P Valentine about 6- or 7-wide and just continued to sit on him, allowing him to do everything on his own. The colt changed leads smoothly and roared past the leader, throwing his ears around. With Coa still doing nothing on him, A P Valentine quickly burst clear, while running straight as an arrow out in the middle of track. Nearing the wire he cocked his ears straight up, as if he knew his job was done.As we said, what's important is that trainer Nick Zito now has the colt's confidence back up, and he should be ready to knock heads with Dollar Bill, Hero's Tribute, and Millennium Wind in the Blue Grass Stakes. If Zito feels he needs another week, there's also the Lexington Stakes, but we don't like horses going into the Derby without ever having run 1 1/8 miles. It's been 51 years since a horse won the Derby without a 1 1/8-mile race in him."I have a good feeling now," Zito said. "He was professional and he was good in the paddock. He's had two races this year, the same as Hero's Tribute, Dollar Bill, and Millennium Wind. Our first choice now is the Blue Grass, with the Lexington the second choice. I'm just grateful to Hialeah for providing us with this race."Spiraling out of controlOK, what to make of Balto's Star's remarkable performance. If there is one thing that's obvious about the son of Glitterman, it's that when he defeats his opponents, he doesn't believe in taking any prisoners. That's three victories now by margins of 11, 12 1/4, and 12 3/4. The only thing formful about the Spiral was that 55-1 shot Halo's Stride was beaten 12 3/4 lengths. Only he wasn't supposed to beaten that far and finish second.Balto Star, making his stakes debut and first start this year away from Aqueduct's inner track, inherited the lead when Keats broke slowly. For all intents and purposes, that was the race. Mongoose was the only horse to threaten on the turn, but Balto Star, hugging the rail throughout the race, just blasted away turning for home as if he had been jettisoned by jockey Mark Guidry. He has such a smooth, powerful stride, he just seems to build momentum as the race goes on. Like in his previous annihilation, he refused to switch leads, and it was only when Guidry shifted to a series of left-handed whips that the gelding finally switched to his right lead. Still, he ran straight and true all the way to the wire.If ever a horse needed gelding it was Balto Star, who was so studdish early in his career he'd have erections in the paddock and try to mount the pony on the racetrack, then get studdish again at the gate. He nearly was entered for a claiming tag, but trainer Todd Pletcher decided to give one more chance after he worked like a bullet one morning. After a decent fourth in the slop going two turns, he broke he maiden by 11 lengths and hasn't looked back.We've seen enough races at Turfway to pass judgment on front-running victories such as this until a later time. What made this performance even more remarkable was that the previous final times on the card weren't that fast, yet he sizzled the 1 1/8 miles in 1:47 1/5, which would seem to give it more credibility than some may think. Before anyone dismisses this colt because of his sprinting sire, we did mention him in last week's Derby pedigree analysis as having a very deceptive pedigree.Although Glitterman was a sprinter and has not sired anything with stamina, it must be noted that he's been bred mostly to mares with speed-oriented pedigrees. Glitterman's sire Dewan won the 1 1/4-mile Brooklyn Handicap, and his dam, Moon Glitter, is a full-sister to Relaunch, who has sired a number of long-distance runners, such as Jockey Club Gold Cup winner Waquoit. Balto Star's broodmare sire, Devil's Bag, has sired 1 1/4-mile grade I winners Devil His Due and Twilight Agenda. But mostly importantly, Balto Star's great-grandsire in his tail-female family is Stage Door Johnny, one of the strongest stamina influences in the country. The 1968 Belmont winner also is the tail-female great-grandsire of Derby winner Go for Gin. Balto Star's tail-female family is all Greentree, and his fourth dam Musical Chairs produced Louisiana Derby winner Woodchopper, who finished a fast-closing second, beaten three-quarters of a length, in the Kentucky Derby. Also note that his dosage index is a very low 1.81.So, now what? Balto Star will be nominated to all three big races on Apr. 14, but he is eligible for a $1 million bonus if he should win the Blue Grass or Lexington and the Kentucky Derby, so it is conceivable Pletcher could wait until the Lexington. That 1 1/16-mile race with it's short stretch would be ideal for Balto Star. Regardless of how good this gelding is and far he wants to go, the one thing that's sure is that whenever he's out there romping loose on the lead, no one is safe.Continued. . . .


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Thoughts of apparent noise on ground - due to power tx?
Hey all! Fleshing out a first wave of DIY designs related to microphone preamps, tube summing amps for a recording console, etc... Haven't had much to post, as you all dive deep into esoteric DIY-ing, but mainly use the knowledge base here for troubleshooting stumps...
Here's one that's giving me hell.
I seem to have, if I'm diagnosing correctly, about 1mV of (what looks like) transformer induced voltage on the aluminum anodized chassis I'm building a high gain mic pre on. (The mic pre is dual-pentode; 6SJ7 into EF86 into 6FQ7 CF, unbalanced outs at the moment).
I have observed via o-scope that this ~1mV or less noise signature is on:
- every part of the chassis and every ground in the amp
- the cathodes of the 6sj7 and ef86's
- the heavily filtered B+ line
I wouldn't normally complain about a small dab o' hum at very high gain, but this is a mic pre I'm building for ribbon mics, so it needs to be pretty damn quiet. I'm measuring this noise with the preamp *not* plugged into *anything else*, just terminating the inputs (150R on each leg on primary side of mic xfmr) and outputs (100k to ground after CF output cap). I've measured the same hum/noise levels with the preamp terminated this way, and actually terminated to a mic and mixer. This hum is not in relation to any other interconnected equipment, but is rather being self-induced somehow.
Here's my troubleshooting so far:
- Made sure anodizing is scraped off, making good contact around the chassis. I'm still suspect that this anodized chassis could be the issue. Read on...
- First, wasn't using a star ground scheme. Went through extensive pains implementing a good star ground. No changes.
- Transformer B+ sec CT and first filter cap grounded together to chassis; other two filter caps along with seperate stage grounds all star grounded to second chassis ground point. I have tried to change this to ground at the same place as the CT/first filter, no change in hum.
- Power transformer mounted on outside of chassis. No change if lams are grounded to chassis or not. Rotating PT makes no difference.
- O-scope plugged into same power strip to observe hum. Also tried different strip.
- Tried different grounding spots on the chassis. Disconnected parts of the chassis to try to reduce hum. No luck.
- Tried different power transformer and different voltages. Lower voltages (hence lower currents) slightly decreased this noise on this ground. This leads me to think of some kind of grounding current issue...
- Tried RC filtering as well as LC filtering. No change. It doesn't look like B+ ripple in the first place, anyways.
- Turning AC power off to power transformer stops the hum.
- With the PT 'on', I put a DPST switch to turn off the AC filament line. VERY slight change in sound of hum, but otherwise, no change.
- Tried using filament CT as well as dual matched 100R for filament ground sense. Nope. Tried humdinger balance pot. Nope.
- Tried various outlets in house. Nope. Tried it at work. No change. Injected noise and level is the same in a variety of houses/places/etc.
- Pulled various tubes, tried various tube types, makes, etc. No changes (other than slight gain differences due to tube strength/make)
- Shielded all AC-coupled cabling to/from stages. Cleaner waveform! No hum change.
- No noise change when (momentarily!) lifting the power ground from chassis.
- Noise reduced when I changed power cord ground to chassis from close to the PT to next to (but not the same connection as) the B+ CT / first filter cap ground point.
At this point, and at the start of it, of course, the design is questioned. I don't have the ability to scan anything, but it's a very simple design, two grounded cathode pentodes into a bootstrapped CF. I can isolate each stage and see the noise amplified in each, not dependent on the others. I feel very confident that the design is not to blame, nor is the layout. This is built on perfboard. The PSU part (diodes, first filter cap, etc) is on the wayy other side of the 2RU chassis as the rest of the stages. Lid on/off the amp doesn't change anything, either.
Since I have tried two different power transformers (and even different power cords!), updated grounding schemes to no difference, etc, my suspect is that either this chassis isn't grounding well (hard to believe - it's aluminum!), or that perhaps there is some kind of PT secondary imbalance that's causing there to be noise on the ground. All other tube equipment, amps, etc that I've built or rebuilt all have very quiet 'looking' ground and operate SILENT. However, this build on this chassis...
Any thoughts? I'll try to get a pic of where the build is at now for any troubleshooting in a few days (after new years). Am I neglecting something, here? My thoughts are that this slight noise on ground is getting into the grids and/or cathodes of each stage and then getting amplified. (The waveform is inverted at the plate in respect to what is observed on ground/cathode).
A basic question, too:
Can signal ground noise be coupled into the cathode of a grounded-cathode gain stage, both bypassed or unbypassed?
And, can signal ground noise creep into the grid via the grid leak resistor (or potentiometer)?
Thanks for any thoughts or insight. The amp sounds AMAZING despite this noise/hum.
Last hint: it looks similar to Fig. 2 here: Earthing (Grounding) Your Hi-Fi - Tricks and Techniques
Yes, I know that's a MAGNETIC induced waveform. Hence my dilemma. I'd say 'similar', as it's not symmetrical, but seems to look close to that 'M' shape, and (if my memory is right) it's happening at 60hz.
Use a battery powered O-scope :-)
I had a similar problem with a mixer with a gain of 200 for microphones.
A couple of millivolts amplified ground noise amplified by 200 is massive !
I tracked it down to resistance in the pcb tracks.
I shorted the pcb ground out with wires and this improved matters a lot.
Not sure if it was just cheap chinese pcb copper but I should really have added a ground plane, will know better next time.
I'm seeing this noise on the chassis itself, seemingly everywhere, as well as on every point of the star ground. So, I feel it's not an interconnect problem. On distant points of the chassis, however, the ground noise/hum is louder on the o'scope. This noise is also directly on the first filter cap/B+ center tap as previously mentioned, and this amp isn't pulling much current... perhaps 50ma peak on b+.
If you are seeing 1mV of noise everywhere you probe (but not on the signal path, as that has increasing noise levels due to amplification), then I suggest you are indeed 'looking' at noise from a loop that includes your O-scope earthing via mains.
Your original post was a little ambiguous about what 'noise' was being reduced (ie. amplified output noise, or O-scope observed level on say a non-signal path point).
You don't happen to have a switching power supply somewhere in the mix do you? Noise can come in on the ground from a switcher PS.
no switching power supply. classic full wave cetner tapped rectified with 4n1007 diodes. i've done both little and lots of filtering with no change. tried .1uf bypass caps on c
the noise, which i'd describe as a hum/buzz (so, 60hz with lots of harmonics), is the *same* throughout the original post, to clarify.
so, the o'scope puzzle, eh? here are my troubleshootings about *that*...
1) doesn't happen with any other electronics on my bench. period. never has. so, if it is something that is just 'seen' with the scope, then something in this chassis itself is causing a ground loop. :confused:
2) i've also done scope probes with and without the scope probe 'ground' clip on the chassis. all that does is clear up some 'fuzz' i see on any probed signal. you know, this is just kinda standard scope procedure. but, to note, i've worked the scope with ground clip to chassis (or star ground) to no difference (other than a little clarity on the waveform)
3) the 'look' of the waveform produced by the probe when hovered close to/near the power transformer is very similar to the noise that i'm seeing after amplification. when i'm using a large power transformer, i can clearly see about the same waveform on the chassis being conducted. when using a smaller voltage power transformer, i see a very small but similar waveform ripple on the chassis. my rationale, so far, is that since I'm doing more R-C stages and voltage knockdown with the bigger transformer, more current is being used and such the chassis current is higher.
scope is a tek 465, btw. i've done (and still do) great troubleshooting with that thing.
so, let's say, for argument's sake, that I don't have a scope, or that my thought that I'm seeing a 'noisy' ground is inaccurate.
my b+ is filtered very nicely. 68uf after rectifier, 20H choke + 100uf, 4.7k + 100uf (this feeds the 6fq7 CF's and ef86's), then 2.2k + 220uf (to feed 6sj7 input stages).
i have not tried running DC to filaments. i've relooked and re-twisted/tried new layouts for the AC twisted filament wires. the filaments go to the 6fq7 first, then each ef86, then each 6sj7, one at a time, in parallel, of course. however, i've read and deduced that filament hum would be seen as (mostly) pure 60hz, no? and not quite this mangled hum/buzz i'm experiencing. would anyone suggest i try DC for filaments? it's one of the only things i haven't tried. however, my test i noted to turn off the filament line to the tubes (as b+ is still active) for just a few seconds while the tubes are still conducting yielded no reduction to the hum/noise, so this led me to feel that a filament AC problem is not what's causing this.
thanks for the thought help, everyone, so far. i'd like to solve this and add it to the knowledge database here!
i'll try to get some pics in the next few days. i'm moving cross country on friday...
20H choke sounds pretty substantial. The pics would be very helpful. I can't imagine the heater wiring twist being an issue if tightly twisted and layed against the ground plane.
What waveform do you get with the probe ground and tip both connected to the same point on the amp chassis, and other normally probed spots?
It's always worth having a 6V battery available for troubleshooting and preparing high gain amps. Two quick configurations that can help with a better appreciation are (a) just powering the input tube(s) with 6VDC, but leaving the 6VAC wiring pretty closeby, and (b) powering the whole heater chain with 6VDC, unconnected at the transformer end.
Have you tuned the humdinger pot for min hum? Was it very sensitive to pot wiper position?
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Situated in the English Department, the American Cultures and Global Contexts Center builds upon the considerable strengths in American Studies at UCSB by offering an interdisciplinary setting for new research and teaching initiatives. Equipped with a small library of key resources in the field and computing equipment to support web-based research, this Center provides a unique site for collaborations among faculty and students.
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Founded in 1994 and based in the Department of History, the Center for Cold War Studies presents annual conferences, lectures and workshops, and provides on-line resources for historians of diplomatic history. The Center is committed to promoting discussion and the exchange of ideas on topics related to the Cold War.
The Center for Information Technology and Society (CITS) is a multidisciplinary endeavor at UCSB spanning the Social Sciences, Humanities, and Engineering. Our overarching goal is to apply the knowledge of these diverse perspectives to understand the development, use, and effects of information technologies in contemporary society. To achieve this, CITS hosts conferences, workshops, and speakers, supports a variety of working groups, and provides administrative support for the Ph.D. Emphasis in Technology and Society. CITS is composed of a vibrant group of active researchers at UCSB who are affiliated with the Center, and is guided by a world-renowned advisory board.
The Center for the Interdisciplinary Study of Music (CISM) is an association of faculty and students that promotes the study of music across academic disciplines. CISM begins with the position that music is an important and powerful cultural practice in which all people participate on some level. By sponsoring diverse projects that engage multiple disciplines, CISM works to expand the boundaries of traditional music research by creating an environment for high-level study and discussion of music that is not restricted to specialists.
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Extension of Colors
Roth's article, Flesh in Wax: Demystifying the Skin Colours of the Common Crayon makes the point that these new colors of crayons have the ability to give us as individuals, "broader notions of pigment variation" and has separated society from its "white biased body norms" (Roth, 80). The idea of creating new flesh colors for crayons reminded me of the more recent extension of many foundation makeup lines such as the one shown in the photograph above. The Covergirl Queen collection specifically promotes matching women's natural hue and ensuring that their makeup matches their unique skin tone.


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Leonard Herrick of Duanesburg, heirs
Heirs of Leonard Herrick of Duanesburgh, Schenectady County, NY who died 21 June 1872
According to Probate documents Leonard died intestate (without a Will). His estate would therefore be divided according to New York State law. This apparently is 1/3 to the widow, the remainder divided among the children.
From the Petition in Probate documents:
Caroline Herrick his widow of Duanesburgh Schdy Co NY
Calvin J. Herrick, a son of Duanesburgh Schdy Co NY
Jane Lester wife of John Lester daughter of Duanesburg Schdy Co NY
Martha Herrick daughter Duanesburg Schdy Co NY
Nelson Herrick son of Hope Hamilton Co NY
Isabella Parks wife of Isaac Parks daughter of Hope Hamilton Co NY
Maria H.(?) King wife of Patrick King daughter of Florida Montgomery Co, NY
Miranda Sweet wife of Waterman Sweet daughter of Florida Montgomery Co NY
Johanna(sic?) Cole wife of Peleg Cole daughter of Esperance Schoharie Co NY
John(sic Jonathan) Herrick son of Esperance Schoharie Co NY
Richard T. Herrick son of Florida Montgomery Co, NY
Sarah A. Stewart wife of (smudged illegible) of Schenectady City, Schen Co, NY
James H. Herrick son of Fredericksburgh Clarkson Co Iowa
On settlement document dated January 24, 1874
Caroline Herrick $295.28
Nelson Herrick $49.21
James H. Herrick $49.21
Julia Slawson $49.21
Maria A. King $49.21
Isabel Parkes (sic) $49.21
Miranda Sweet $49.21
Sarah Jane Lester $49.21
Jonathan Herrick $49.21
Calvin Herrick $49.21
Joana(sic) Cole $49.21
Martha Brownell $49.21
Richard T. Herrick $49.21
It is not clear why there is Sarah A. Stewart listed only in the petition and Julia Slawson listed only in the settlement.
Some of the children are with Sarah Estes his first wife.
Sarah (wife of John Lester) , Jonathan, Joanna, Calvin, and Martha are with Caroline Mott his second wife. Caroline was a sister of my great great grandmother Joannah Mott.


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Directed by Kari Skogland (LIBERTY STANDS STILL) and adapted from the autobiography of Martin McGartland, FIFTY DEAD MEN WALKING is the electrifying tale of a British secret services agent based in Northern Ireland during the late 80s. During the four years that he was stationed there and before his subsequent discovery, it is estimated that through his actions, McGartland was responsible for saving the lives of 50 men.
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The Van Cliburn Foundation has announced its eight concerts for the 2014-15 season, again divided among three series.
The Cliburn at the Bass series, at Bass Performance Hall, is down to three concerts, all featuring prizewinning pianists. Beatrice Rana, silver medalist in the 2013 Van Cliburn International Piano Competition, will open the series, followed by Denis Matsuev, winner of the 1998 International Tchaikovsky Piano Competition.
The third concert, honoring the retirement of longtime Cliburn Competition jury chair John Giordano, will feature eight gold and silver medalists of the competition: Haochen Zhang (2009), Joyce Yang (2005), Stanislav Ioudenitch (2001), Jon Nakamatsu (1997), Simone Pedroni (1993), José Feghali (1985), André-Michel Schub (1981) and Vladimir Viardo (1973).
Two smaller-scale series will continue in the auditoriums of two Fort Worth museums, the new Renzo Piano Pavilion of the Kimbell Art Museum and the Modern Art Museum of Fort Worth.
Here's the schedule:
Cliburn at the Bass
Sept. 30: Beatrice Rana, piano
Feb. 10, 2015: Denis Matsuev, piano
April 7: John Giordano Tribute Concert
Cliburn at the Kimbell
Oct. 30: James Ehnes, violin
Nov. 13: David Fray, piano
Jan. 29, 2015: Lawrence Brownlee, tenor
Cliburn at the Modern
Oct. 11: Lowell Liebermann, composer
March 28, 2015: Mark Adamo, composer
Subscriptions, now on sale, range from $40 to $270. Single tickets will go on sale in August. Information: 817-212-4450, cliburn.org.