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Sorry, still not getting led dimming. I am using Chauvet QWash 560Z led fixtures and can't for the life of me get them to fade into their color from 0. They claim they have 0 - 100 dimming but I don't see it. They always start at a particular intensity at GO then fade into their cue color in the cue time. I watch led's actually either fade off or fade on during the cue time.
If a cue is on an intensity fader when I bring up the cue/fader nothing happens until 2% shows then it pops on and starts fading up from there.
In some cues they pop on at the last color value then fade in the cue time to that cue value.
They seem to do smooth color transitions when going from a lit cue to another lit cue, but from black different story.
LED's ehhhhhhhh
That sounds like the fixture has an imperfect dimmer, nothing to do with the console.
This is fairly common at the lower end of LED, getting the very bottom end of the fade smooth is extremely difficult.
The human eye is also amazingly good at detecting very small changes, so looking directly at the diodes on the face of the fixture will make this appear much worse than it really is. (Once fully dark-adapted, it's actually possible to see 16-bit steps in LED fades - you can actually see individual photons!)
LED also reacts so fast that any tiny jitter in your hand as you move the wheel or fader will be visible unless the fixture does smoothing for you internally, so when checking this kind of thing you should use a timed fade.- Tungsten and even mechanical dimmers fundamentally have much more smoothing than LED, simply due to the thermal or physical mass of the filament/shutter blade.
The coming on in the previous cue colour then fading to the new one sounds like you forgot to Mark the colour.All fades are "from where we are to where we're going", so unless you tell it to change colour it will stay in that colour - even when off.
Think back to how you'd do a colour change before automated lighting - you'd send a guy to swap out the piece of coloured plastic on the front of the light. If you didn't tell him to go change it, then it would still be the old colour. It takes him a while to do it.
If you use "Automark" then the console will figure out most of these 'Marks' to change Colours, Pan/Tilt, gobos etc.Sometimes the cue timing means that Automark doesn't have time to finish those marks, so you'll need to override the times (eg Mark Time in Setup, or setting FCB times in the cue where the lights come up) or create your own Marks futher back.
Keep on trying till you run out of cake.
ETC Field Service, London
Hey Richard,
Thanks so much for your detailed and easy to understand explanation. Non-smooth AND NOT 0% to ? dimming was what I really didn't want to hear but expected :-). And with LED's being so intense even 1% can be seen on stage. I did a show a few weeks ago that used a lot of 1% up to 7% looks. As you said, in a dark room it's pretty visible. So looks like I'm, we're all stuck with this. Most of my fades range from 3 to 5 seconds however when I set them at 20 that initial "on" pops and that's what is the issue. I'm guessing it's the charge of the gas in the led or whatever fires it that can't be easily smoothed to on. I'm sure some genius will figure that out since tungsten's on its way out.
Because users wanted a tungsten filament type of true fade Chauvet does have a fixture feature that allows it to be set for fade delay at 0, 1, 2, 3, or 4, however when it's set higher than 0 a quick black out isn't possible, and again, with led's it's very visible; much more so than tungsten. Found that out in my last event. Needed to do a quick bright flash of lights then sudden black, but because I had the fixtures set at 4 the black was delayed and the performers were seen moving while they faded out. That delay also doesn't work for up fades, only down, obviously because a lamp doesn't warm UP (so to speak), it cools DOWN. Oh, you know what I mean :-)
Anyway regarding marking. That was also a thought but I keep forgetting to check to see if auto-mark is on. Must not be because there are no M marks showing. However, I would like to ask if you don't mind, does marking set every new change except intensity and does it work that way on led's? I did update one cue last night with a manual mark but when I ran it from the previous cue I still saw all 5 colors come up then those not needed fade off to the blue I wanted. I am also using True Color rather than HS, which was highly recommended.
I found these low end fade problems a particular issue with the Chauvets - they are very bright, so a little can go a long way, and the bump to 1% is not ideal. If the dimming mode was controllable via DMX, they would be a lot more suitable for theatrical use IMHO. When I used them, I had to do a lot with parting color times and adding auto follows to deal with more subtle fades.
LEDs have come a long way in the past few years, but dimming, blending, and CRI are all inherent issues with LED that manufacturers have to overcome. I think picking from one maker or another is as different as picking leko, fresnel, par, etc with incandescent. Selador, Chroma Q, and Prism, for example, all have much more appealing dimming curves than the Chauvets.
Absolutely Josh.
For all the readers who don't alreday know this: I compared my Chauvet QWashes with Selador Ice and Fire and there is no comparison. They have a true 0% - 100% curve - amongst many other features of course. Select them and start rolling the wheel very slowly and they will start dimming up slowly. Slowly roll the wheel with Chauvets and when they get to 2% they "pop" on at 2% then dim up from there, even though they advertise 0 - 100%. Doesn't do real well in the theatre. Concerts a different story.
Unfortunately two things happened for me: ETC/Selador don't have any mover washes to my knowledge yet and I wanted to get going on it now AND I wouldn't be able to afford them anyway since I do all my lighting as a ministry; basically donations only. Bummer.
Regarding some of your work-a-rounds. I'd like to know a little more about "parting color times" and "auto follows" that help the popping on and off.
Boy do I resonate with your budget limitations. Budgets are really tight as we are raising money to put a building on the land we purchased last year. (We're currently performing in a small 104 year old church.) I have a handful of cheap LED PARs that were loaned to me. There are a couple tricks that I've learned to make them less obnoxious coming from a blackout.
First, fade from black on both color and intensity. The cheap LED units seem to just multiply the color % by the dimmer % to get the output value for each color. So 1% of 100% red is 1% output, while 1% of 1% is 0.01% output.
Second, if the LEDs still pop too much because the tungsten fixtures are taking a moment to warm up, delay the start of the fade for the LED units until the tungsten lights have a chance to start to fade up.
I can't give specifics how to do these on an ION as I'm still working on convincing the "powers that be" to buy an ION system.
-- David
I have had luck with creating a dimming curve with fading starting at 10%. This way your conventionals have time to warm up and start showing onstage when the led units start to kick in. YOu can create a curve in the Record Targets section of Browser window. Then add the curve to the fixture in Patch.
JP Gagnon
High Output, Inc.
Portland, ME
I thought I posted to this however I see it aparantly didn't go out.
Thanks for your input. I'm not real clear what you mean fading from black on both color and intensity. The way I compared the Chauvets to the Seladors is I selected both fixtures and a color and hit Enter, then rolled the wheel very slowly and the Chauvets popped on at 2%. I'm guessing when I selected the color and hit Enter that set it, so the color wasn't "rolling up". I'll have to figure out what to do different to fade from black on both color and intensity on my ION.
On another note, actually the really cheap led's don't have an intensity channel, so it's either just color for intensity or in some cases, as in the ION, an intensity channel is added in the library. In the case of these Chauvet washes, they do have an intensity channel.
Regarding conventionals, I can do delays and other things but there are often times when only led's are used. I guess that 's the price I pay for chooooooosing Chauvet.
Hey there. Thanks for the input. Thought I sent out posts on the last couple of replies but they aparantly didn't go out. iPhone stuff.
Anyway, as you can see in my other post, there are often instances where all I am using is the led's in a cue. Otherwise covering it up with conventionals is a great idea and will be used.
Jeff Toussieng:
Regarding some of your work-a-rounds. I'd like to know a little more about "parting color times" and "auto follows" that help the popping on and off.
Really just hiding the popping as much as possible. If doing a color crossfade where new colors turn on, I might delay the colors coming up from zero. If colors were fading out, I would delay those until other colors came up to their levels. If coming up from black and the color used the white LED's, I would fade those up first and then autofollow into a cue that added the other colors and possibly dimmed the white.
I couldn't eliminate the lack of low end fade, but sometimes I could hide it a bit.
Sorry I was traveling this weekend. We went to see my second child get her Bachelor of Arts in Theater! Now I just have to finish paying for it.
By "fading from black on both color and intensity" I meant that the color and intensity DMX outputs should start at 0 and fade up to the final levels over the full fade time. If the ION is marking the color in the blackout, then the DMX outputs for the color are probably at their final values and only the intensity fades from 0 to the final value.
I've got an Express 250 so each device DMX output takes up a separate displayed channel. So going from full black out in cue 1 to an intense dark blue in cue 2 would have all zeros in cue 1, and the channels for blue and the intensity on the device at full in cue 2.


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Thirsties Duo Wrap Snap - Blackbird
" I found the elastic in the legs to be a little tight for my baby. There were no leaks but I often saw red marks on her chunky thighs. I did really love this print and it was at the top of our rotation. " --short mom
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Seventh Generation Baby Overnight Diapers
" I try to cd all the time, but its just not always possible. And my girl fits a size 3 but is a heavy wetter at night LOVE -fits -aborbs like my hemp stuffed pocket cloth diaper -easy -eco friendly -cute HATE -the sizes are printed in tiny size 10 font on the inside of the tabs. DH hates this. As does my mom. -not cloth. I loathe..." --fayebond
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Seventh Generation free and clear baby wipes 350 count refills
" I have been using Seventh Generation over the past year. I like them though they are a little pricey specially where I live and not to many places carry them. I just recently started making my own wipe. " --Nikkiboo3145
Thirsties Fab Wipes, 6 Pack, Girl
" good quality general wipes,very soft to touch. I use some colors for diapersand saved two for general allpurpose wipes too. Love the fact that I can fold in smallspace and carry in bag. Kinda shrink after many washes " --amadorev
Thirsties Duo Wrap
" These covers were pretty easy to use. I loved that they could be wiped down, dried, and reused. The only issue was that the velcro tended to gather fuzzies from the prefolds when washed. The tabs would come undone from the wash fold setting and stick to things. I felt they were slightly pricey considering the durability of the velcro. " --short mom
Thirsties Stay-Dry Duo Insert, White
" I use these when LO has a diaper rash as an extra insert/barrier so that I can use diaper rash cream. They are absorbent and most importantly very gentle on LOs behind! " --katy8ug
Thirsties Duo Diaper
" Really loved my size 1 diapers. Fit really well even when my baby was really little. I loved that you could still adjust the size like a one size, but it was not too bulky for little ones. On the other hand she outgrew size one and now we need to buy size 2 too. " --sugarpalmer

subset: commoncrawl


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On the day in early January when talks over a long-running tax dispute between Glaxo SmithKline and the Internal Revenue Service broke off, Glaxo's share price fell nearly 2 percent. And no wonder. The IRS wants the U.K.-based pharmaceutical giant to cough up more than $5 billion in taxes, penalties, and interest, more than half of operating cash flow.
The dispute involves transfer pricing—specifically, the rate Glaxo charged for marketing services supplied by its U.S. affiliate from 1989 to 1996. The IRS maintains that the rate was far too low, and thus vastly understated Glaxo's income subject to U.S. tax during that period. Now the case is headed for the U.S. Tax Court, where hearings could begin as early as next year.
Corporate tax directors are taking a keen interest in the case—particularly at multinational enterprises, for which transfer pricing is the most important international tax issue. According to transfer-pricing experts, the IRS's decision to take Glaxo to court reflects new thinking on the part of the agency. They say the new thinking is enshrined in new regulations, proposed by the IRS last September. The rules would radically change how the U.S. tax authority treats services supplied to parent companies by affiliates in other tax jurisdictions (and vice versa)—including jurisdictions that offer enough tax incentives to be considered havens. "The new rules will allow the IRS to deal with this issue much more effectively," observes Deloris Wright, a principal in the Denver office of consulting firm The Analysis Group.
The proposed regulations have already spawned controversy, as was evident at an IRS hearing in mid-January. "Largely unworkable" was the judgment offered by Hank Wagner, senior counsel for the Mount Olive, New Jersey-based affiliate of German chemical maker BASF. Wagner's testimony cited the "enormous complexity" and "unreliability" of key provisions, which he said would impose compliance costs on multinational corporate taxpayers that would "exceed any benefit the new rule[s] will provide."
Others worry that the new rules could subject multinational companies to huge increases in U.S. taxes. The concern is particularly acute for midsize growth companies, says Jim Silvestri, director of worldwide taxes for Cognizant Technology Solutions Corp., a software developer based in Teaneck, New Jersey.
Heartburn for Multinationals
Under current tax rules, transfer pricing of services can be reported at cost as long as those services are deemed not integral to the business. Those that are integral must be priced as if they were offered by a third party, which usually amounts to cost plus a markup that would be appropriate in an arm's-length transaction. What's integral, of course, is subject to interpretation, as is the question of a suitable markup. And as Glaxo and other cases show, the IRS has had some difficulty getting the tax court to side with it.
The proposed new rules do away with the safe harbor for nonintegral services. Instead, they require those services to be priced, for starters, at cost-plus (called the simplified cost-based method). The markup must be demonstrably close to what is available from a third party. If the third-party markup exceeds 10 percent, a company would have to use one of five other methods (see "No Ports in This Storm," at the end of this article).


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American Idol has gone country, choosing tonight's songs from the catalogues of the Grand Ole Opry's members. I have had the honor of singing on the Grand Ole Opry stage several times, a highlight of my career! The Opry has been very good to us Idol alumni. Carrie Underwood was inducted into this exclusive club last year and many of my peers, including Kellie Pickler, Bucky Covington and Josh Gracin, are regular guests.
Country night was the week that I feel like I really hit my stride on the show. I obviously have a soft spot for the Opry and country music, having released my first album in the country market. Thanks to all of you who bought the record this week. I re-entered the charts and those who ponder these things attribute it to this blog! Now on to Idol …
Some of tonight's Idols honored country music's greatest stage with their performances. Anoop Desai left the silliness and returned to solid singing with Willie Nelson's "You Are Always On My Mind." This performance reminded us that he is a great singer. His vocals saved him because if this performance was not great, he probably would have gone home tomorrow.
Allison Iraheta rocked out "Blame It On Your Heart." I loved her raspy powerful vocals on this song. Thought it was great!
Kris Allen is winning me over, more and more each week. I thought his version of Garth Brooks' "Make You Feel My Love" was a great song to highlight his talent. It was a simple and nice performance that will definitely carry him through to next week.
Matt Giraud sang Carrie Underwood's "So Small." He did a great soulful job but seemed a bit out of breath during the entire performance. I have been a Matt fan from the beginning and tonight is no exception.
Danny Gokey also sang Carrie Underwood. My Christian brother was anointed while singing "Jesus Take the Wheel." You could tell he was singing from his heart. I don't see him coming to Nashville for country music, but I hope he does join me in some aspect of the contemporary Christian music scene.
Lil Round and Adam Lambert probably will not be hitting Nashville's Music Row for a country record deal anytime soon either.
Lil Round was the least comfortable we have seen her all season. She sang Martina McBride's anthem "Independence Day." I think there were better songs for her, as did the judges. I am waiting for the season when the "R&B" gal sings Rebecca Lynn Howard's "Forgive." LaKisha Jones would have blown it out of the water during my season.
Regarding Adam Lambert's "Ring of Fire" let me first say that I am a Johnny Cash fan. I live in Johnny Cash's hometown of Hendersonville, TN. My house is right off of the Johnny Cash Parkway. I just didn't like this rendition of "Ring of Fire." Honestly, I felt like Adam knew country wasn't his thing so he just went completely over the top and a bit gimmicky/ tongue-in-cheek with his performance, ensuring everyone will be talking about him tomorrow. That I can understand and can even respect; his version of "Ring Of Fire" … not so much. I couldn't imagine him not sailing through.
I think that Scott MacIntyre and Michael Sarver will be in the bottom tomorrow. Both performances were just too forgettable.
So you think anyone from this crop of Idols will end up singing at the Opry? Did you love or hate Adam's performance? Who do you think did the best tonight?
I will be writing my blog from the road for the next couple of weeks. I am actually on the "American Stars in Concert: Spring Break Tour" with Melinda Doolittle, Gina Glockson and Chikeezie. Check out www.philstacey.com to check out the dates. Hope to see you sometime soon!
I had mixed feelings about Adam Lambert's arrangement of "Ring of Fire." It was almost surreal, like a Dali painting. However, having grown up around Hendersonville, Gallatin and Goodlettsville, I was familiar with June and Johnny. In Johnny's younger years, he would have hated for anyone to mess with his songs. However in his later years, as evidenced by his collaboration with Nine Inch Nails, he welcomed a wider range of creativity. I think Johnny would have liked Adam's version. June, however, would have hated it. Nashville would not welcome it either.


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brikguy is a pretty cool guy, eh? Posts weird threads and doesn't afraid of anything!!
Warhead wrote:my head burns with War.
excellent minifigs, poor camerawork
Man, I wish I had awesome matching torsos like that...
I like it a lot, a few things though:
That helicopter has A LOT of plates on the part that comes off of the top. It's not a bad thing, I just had to say it.
And which way to the lasers face? A few of them are facing a different direction.
stubby wrote:You were inb4beluga.
*CRAZYHORSE* wrote:looks pretty neet nice uniforms very cool airborn guys and where did you get all those torso's from the same kind? bricklink?
▲ job.
Owen ze Wise wrote:▲ job.
Is that a compliment?
Owen ze Wise wrote:Then The guys with the bayonets are from the really old space force sets (Im not sure of the name.)
Warhead wrote:my head burns with War.
pesgores wrote:Owen ze Wise wrote:▲ job.
Is that a compliment?
Who knows? It's just a ▲ job. Read our Wikia if you have any doubts.
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State Public Health Laboratory
- Updated Immunology Test Request Form
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Associated with MERS-CoV
- Fall 2013 edition of Beyond the Scope
The Missouri State Public Health Laboratory (MSPHL) is dedicated to the promotion, protection, and assurance of the health of Missouri's citizens by providing a wide range of diagnostic and analytical services. These services include quality-assurance laboratory testing for infectious diseases, genetic disorders and environmental health concerns, both in support of public health programs, and as a reference laboratory performing unusual or specialized procedures. The laboratory provides scientific expertise and managerial leadership in meeting the rapidly changing challenges in the clinical and environmental laboratory disciplines and in the development of public health policy.
About five million tests (many required by law) are performed in the MSPHL and one branch laboratory located in Poplar Bluff. Approximately 406,920 mailing kits are assembled and distributed each year for the return of specimens from hospitals and private laboratories as well as city, county and district health offices. The MSPHL also functions as a reference lab for medical laboratories in the state and confirms results or completes organism identification.


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Sony cuts PSP price, reveals new 'Greatest Hits'by Xav de Matos, Feb 25, 2011 8:15am PST
With its Next Generation Portable on the horizon, Sony might want to consider clearing out some warehouse space.
Perhaps related, Sony has announced it will cut the price of its PSP-3000 to $130. News of the $40 drop comes from the PlayStation Blog, which revealed so many other discounted items we're surprised the site didn't include video of Howard Stringer screaming "everything must go!" into a camera.
Also discounted are "PSP Entertainment Packs," which will be reduced to $160. The PSP Go price will not drop, remaining $200 and on dusty store shelves. Price cuts go into affect on February 27.
Piling onto the savings, Sony has revealed a number of additions to its "Greatest Hits" line-up as well as more games for its its even cheaper "Favorites" list.
- New PSP 'Greatest Hits' Titles ($19.99)
- Assassin's Creed Bloodlines (Ubisoft)
- Dissidia Final Fantasy (Square Enix, Inc.)
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- Metal Gear Solid: Peace Walker (Konami Digital Entertainment, Inc.)
- Ratchet & Clank: Size Matters (SCEA)
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- Toy Story 3: The Video Game (Disney Interactive)
- New PSP 'Favorites' Titles ($9.99)
- Crisis Core: Final Fantasy VII (Square Enix, Inc.)
- Daxter (SCEA)
- Monster Hunter Freedom Unite (Capcom)
- Killzone: Liberation (SCEA)
- SOCOM U.S. Navy SEALs: Fire Team Bravo (SCEA)
- Tomb Raider Anniversary (Square Enix, Inc.)
That's a healthy stack of quality games and Sony could probably use the warehouse space.


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I applied through other source and interviewed at The Hartford.
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I applied through college or university and the process took a day - interviewed at The Hartford in April 2012.
Interview Details Met recruiters at a university job fair. Gave them my resume and received a call saying they were interested in interviewing me. Met at the university career fair where there was a manager, and five other employees. Sat a table with all them for introductions, where they asked what interested me about the position and to talk a little about myself. Split off and sat in a room with 3 employees. Very laid back and definitely have questions and reasons why you're interested in the job. Customer service experience a definite plus.
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Aadi Krithigai is an important festival celebrated in the Tamil month of Adi or Aadi. In 2013, the date of Aadi Krithigai is July 31. The festival is dedicated to Lord Muruga or Subrahamaniya. Incidentally, the festival is also referred as Aadi Krittika, Kirthigai Kritika and Krithika. The festival is celebrated with fervor in the Murugan Temples in Tamil Nadu.
According to Hindu mythology, Lord Muruga was born as six different babies. And he was looked after by the six Krittika stars. Later, Lord Muruga was combined as a single baby with six heads by Goddess Parvati. There are many variations to this legend.
The Krithigai star or Nakshatram is considered highly auspicious to worship Muruga. And Aadi Krithigai is more important because Aadi is the first month in the Dakshinayana punyakalam – when the sun god changes his direction from north to south.
Devotees carry flower Kavadi on the Aadi Krithigai day. It is celebrated in a grand way with various rituals in Murugan temples across the world.


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Puerto Rican Festival announces headliners
Posted at: 04/29/2013 10:05 PM
|Print Story
It's a summertime tradition in Rochester. News10NBC has the details surrounding the 2013 Puerto Rican Festival.
The festival will run August 9-11 at Frontier Field. The theme will be "Our Cultural Heritage, Peace, Respect and Dignity" and will feature a number of local bands, dance groups, performances and food.
The headliners for this year's festival are Jerry Rivera, Ruben Blades and Oscar D'Leon.
Festival hours will be Friday and Saturday from 12:00p.m. to 11:00p.m. and Sunday from 12:00p.m. to 7:30p.m.
Admission: 3-Day Passes: $25.00, Regular Admission: $10.00 each day, seniors and children: $5.00, Children under 5 free.
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I've bound several types of material, these are my favorite. Works well with acetone and plastic cement, but my glue of choice is ultra-thin cyanoacrilate. I tape all the layers in the slot of the instrument (3, 5 even 9 strips at once), tighten the a 4" area with finger pressure and drop the glue to the laminated side. The glue absorbs and spreads between the layers, forming an invisible, irreversible bond, plastics and wood get a hard bond in a single step. Very easy to scrape.
Good binding material. Bends cold pretty well but for those super tight bends just add a little heat and it won't get white bend lines in it. Its tough too and sands or scrapes nicely.
A nice replacement for jobs on most guitars that are damaged...a great value!
Again shipping and handling is PERFECT.
The binding was smaller than i thought and was not very happy with the feel of it so (No smooth edges at all) i had to work on it to make it look and feel way better.
Out of the box the binding was already very even and ready to install. In my case I didn't need to file any of the sides. Also, unlike some cheaper bindings, it is made of the proper material and can easily be dissolved in acetone to make binding paste.
I went medium width white narrow black and wide white on my Rick build and it looks great with a deep transparent red stain.
These are very easy to work with and install. I usually always prefer wood bindings, but when the situation calls for plastic, these wont dissapoint.
I actually glued 3 pieces at once, just a little practice and it can be done
I used these on my first acoustic guitar and it turned out very nice. But, I prefer the wood bindings instead. The wood bindings were a little more work than plastic, but I think they look much nicer. The plastic bindings are easier to fix mistakes though.
This ABS binding is very precise in both width and thickness. One caution, it bleeds into white ABS if you are making multi layer perflings using acetone as cement.
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Steven Holl
Light Volumes
I grew up next to a large church whose expansive grounds and cemetery became a wonderland in my imagination. However, searching for ghosts and playing a variety of elaborate games of make-believe had nothing on what would happen to the walls of the church at night. Standing outside, the light burst through the stained glass windows, displaying intricate stories in bright colors. As a child, my friends and I would spend what felt like hours making up tales of heroism and basking in the rays of colored lights illuminating the ground around us.
Church, stained glass, Steven Holl, Architecture, chapel