Happy Birthday To The 45rpm Record

April 18th, 2009

Author: Robert Benson

Happy Birthday and welcome back to an old friend, the 45 rpm record officially turned 60 years old on March 31. British trade journals are reporting that single song 45rpm records are now outselling their CD counterparts and many American bands are now releasing music via this historic audio medium.

The 45rpm record was initially introduced in 1949 by RCA Records as a smaller, more durable replacement for the heavy 78 shellac-based records of the time. The 45 was created by RCA as a competitive move against one their rival record companies, Columbia, which had just introduced the new microgroove 33 1/3 rpm LP. The number 45 came from taking 78 and subtracting Columbia’s new 33 to equal the 45. Record companies and consumers alike faced an uncertain future as to which format would survive the 78rpm or the 45rpm; in what was known as the “War of the Speeds.” In 1949 Capitol and Decca started issuing the new LP format and RCA relented and issued its first LP in January 1950. But the 45 rpm was gaining in popularity and Columbia issued its first 45s in February 1951. Soon other record companies saw the mass consumer appeal the new format allowed and by 1954 more than 200 million 45s had been sold.

So On March 31, 1949, RCA Victor released “Texarkana Baby” b/w “Bouquet of Roses” by Eddy Arnold. The first 45 to hit the Billboard charts was “A — You’re Adorable” by Perry Como, listed on the charts on May 7, 1949. The next week, the year’s biggest hit appeared on the Billboard charts — “Riders In The Sky (A Cowboy Legend)” by Vaughn Monroe. The first 45rpm records were monaural and as stereo sound became more prevalent and popular in the 1960s, almost all 45rpm records were manufactured in stereo.

The historical and commercial significance of the 45rpm record has varied over time, the technological developments in recorded music and according to the audience of the particular artists and musical genres. In general, 45rpm records were more important to the music acts who sold music to the younger audiences (mostly teenagers) who tend to have limited financial resources and shorter attention spans. That said, the golden age for the 45 was in the 1950s and 1960s in early development of rock music. They were affordable and allowed artists the freedom of releasing a single song as opposed to a whole LP. Conversely, some singles helped to launch the sales of the albums that the musicians were promoting.

The length of the songs also evolved. In the 1950s, it was common for songs to be anywhere from two to two and a half minutes long and in the 1960s; the three minute single became the norm. This length was very convenient and fit the AM radio format very well. Millions of demo records were sent out to radio stations with specific instructions as to which song was supposed to be the ‘hit single,’ although there were some DJs that played the ‘B’ sides and those songs became hits. Elvis Presley was one of the first artists to release the ‘double-sided single’, meaning that both songs would ultimately end up on the charts. The Beatles followed suit and were also one of the first recording artists to push the envelope, so to speak and commonly had songs over the three-minute norm. In fact, there are some singles that had to be edited by radio stations and shortened to fit their particular formats. Don McLean’s 1972 hit “American Pie” is an example, the single was split up into two parts on the 45. The Beatles broke new ground in 1968 with their over seven minute epic “Hey Jude.”

The sales of the 45s were recorded on the record charts in most countries in a Top 40 format and these charts were often published in magazines (Billboard), television shows (American Bandstand) and radio programs often had the Top 40 countdown shows (Casey Kasem).

Nowadays, they still manufacture 45 rpm records, but on a much smaller scale than decades ago. Indie bands, r&b artists and punk bands love the format; it makes the music affordable for their target audience and, after all these years, are still highly sought after by collectors. Happy Birthday to an old friend, here’s for many more!

Sales of 45rpm Records:

Over 11 million copies
“Candle in the Wind 1997/Something About the Way You Look Tonight” – Elton John

Over 8 million copies
“We Are the World” – USA for Africa

Over 4 million copies
“Hey Jude” – The Beatles
“Hound Dog”/”Don’t Be Cruel” – Elvis Presley
“I Will Always Love You” – Whitney Houston
“Low” – Flo Rida featuring T-Pain
“Macarena (Bayside Boys Mix)” – Los Del Rio
“Whoomp! (There It Is)” – Tag Team

Over 3 million copies
“Apologize” – Timbaland presents OneRepublic
“Disturbia” – Rihanna
“(Everything I Do) I Do It for You” – Bryan Adams
“Eye of the Tiger” – Survivor
“Gangsta’s Paradise” – Coolio featuring L.V.
“Hot N Cold” – Katy Perry
“How Do I Live” – LeAnn Rimes
“I Kissed a Girl” – Katy Perry
“I’ll Be Missing You” – Puff Daddy & Faith Evans featuring 112
“I’m Yours” – Jason Mraz
“Just Dance” – Lady Gaga featuring Colby O’Donis
“Live Your Life” – T.I. featuring Rihanna
“Love Me Tender/Any Way You Want Me” – Elvis Presley
“Stronger” – Kanye West
“Viva la Vida” – Coldplay

About the Author:
Author Robert Benson writes about rock/pop music, vinyl record collecting and operates http://www.collectingvinylrecords.com, where you can pick up a copy of his FREE ebook called “The Fascinating Hobby Of Vinyl Record Collecting.” Have your vinyl records appraised at http://www.vinylrecordappraisals.com

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Train Your Singing Voice – What You Need To Know

April 18th, 2009

Author: Grace Potter

The most important thing about having and maintaining your singing voice is to train it properly. This will ensure that you can sing for years to come without any health problems. Among other things the following points need to be considered:

  • Sort Out What Singing Exercises You Need To Do
  • Train And Improve Your Own Unique Singing Style

Sort Out What Singing Exercises You Need To Do

Once you have figured out your routine for training your voice, you need to know what sort of exercises you need to do. Do you want to be able to sing like Celine Dion or the successful American Idol winner Carrie Underwood? Then one of the things you need to do is to work on your scales and your singing range. The best way to do this is to play scales on a piano and do your exercises or look at getting audio lessons to play on your computer or CD player. Regular practice will extend your range in no time at all. Most people recommend that you should try to have a singing range of between two to three octaves. This will enable you to sing most songs that are popular whether you are singing pop, jazz, rock or even musical theatre.

Train And Improve Your Own Unique Singing Style

When singing along to songs from your favourite singing artists, try not to copy them completely. Otherwise you will lose your own individual style. You could also pick up on bad singing habits that some singers have, which can take a long time to unlearn. The best thing to do is to listen to the songs and the musical notes and try to recreate them yourself. Remember, you want people to say you sound like you and not like a clone of someone else. Popular singers are popular because of their individual styles. If you want to be popular, get your own unique style.

Those are a couple of things that you need to think about when training your singing voice. Get into a regular singing routine and you will be on your way to a great singing voice.

Check this out if you want more tips on how to become a better singer

Want to know how to improve your voice even more? Then visit How To Become A Good Singer for more details.

About the Author:
Grace Potter’s hobbies include singing, interior decorating and reading.

Article Source: http://www.articlesbase.com/art-and-entertainment-articles/train-your-singing-voice-what-you-need-to-know-773277.html

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Winning Stage Fright

April 18th, 2009

Author: Kim Wist

As a professional performer with 15 years of experience on stage in all kinds of circumstances – stand up, close up, big and small stages etc – and having experienced all kinds of stage frights and anxieties, I feel it is important to talk about this issue and shed some light on it.

If you picture yourself alone on the stage trying to entertain hundred people, does this image frighten you? Do you have butterflies in your stomach on Monday when you know you have a demanding gig on Friday or do they come only a day before? Do you have any idea were this fear originates? Do you think that nobody else feels like you, your fear is worse and others have easier lives?

Many questions, but now it’s time to give some answers:

From the beginning of your life you have been compared to other children. When you went to school it got even worse – and it has built a system inside of us that doesn’t approve us if we are not exceptionally good in what we do. It has also created fear, fear of failure and sometimes fear of success. Maybe you have had your creativity beaten down by your parents or your classmates and you are afraid to express yourself anymore. Parents can contribute to this factor more than we know and usually with good intentions from their side; you have expressed your child creativity and your mother comes along and tells you got it all wrong… next time in the same situation you are not likely to try the same thing again. Among children this comparison is especially rude and cruel, so no wonder that we think twice before expressing ourselves in front of others.

However this should not stop you from fulfilling your dreams or going on stage and stand up in front of people if you feel you belong there and have something to give.

It’s important to think about fear and get a grip of it.

Fear can be very big, so big you feel there’s nothing you can do and it gets the best of you. And we are customized not to show our fears. We act cool when in reality we shake life leafs. We think that by admitting our feelings we will lose our face. In fact it is the other way around, he who has courage and honesty to show his feelings to others is much braver, stronger and free. He doesn’t need to hide from anything.

The problem is not fear, although it is important to understand how it arises – the problem is how we deal with it. Think of fear as energy. Because energy it is. It is energy you don’t want, you wish it go away. This means you are not facing your fears, and if you don’t face your fears you will not conquer them. We often think of fear as our enemies, but everybody knows that first step in any battle is to know your enemy!

Actually fear in not your enemy – it’s your ally – if you can use it right. I said that fear is energy. Ride the wave instead fighting against it! Accept your fear and embrace it and it will yield its strength in your hands. Fear can be big and terrible but all gets down to you, how you handle it.

To be brave means to act despite you are afraid. Brave doesn’t mean fearless, it means you can handle it and don’t let it overrun you.

Next time you go on stage on a stand up gig and you see the ocean of people you got to entertain, you might feel stage fright and insecurity arise. Good! Use it, ride with it, breathe it in and let it come out in your actions. But whatever you do, don’t let it hold you back.

About the Author:

Kim Wist is a professional magician and one of the most successful performers in Finland: Taikuri Kim Wist

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Trade Show Entertainment

April 18th, 2009

Author: Kim Wist

Trade shows offer a different but very interesting venue for various entertainment artists. Because people move around and performances are very seldom arranged at specific times, a performer’s main job is usually to attract and keep customers by the stand.

However, a skillful performer can attract a big group at the same time and develop a good overall feeling about the company he’s working for. I often found that some people don’t come immediately to visit the stand after the performance, but interest is awakened and they come later the same day.

As a magician I have worked on many trade show events and found different ways to promote the client and their products. Magic is good because people are generally very interested in it and I have found that the company message is easy to deliver disguised in a magic trick. The magic performed can use the company name or product, thus linking the sales message with magic itself.

Different attraction methods has been used by companies; musicians, jugglers, loud sound effects and even theater but nothing works better than a seasoned performer who can gather big crowds in minutes. As in street magic, we need sound, color and movement to attract attention, it is a good idea to work on a slightly elevated stand from time to time, but once some onlookers are attracted, the interest is developed and more will come.

Once the customers are around the stand, the sales staff has a better chance to move in on them. This is why magic is good, because it can hold peoples interest for many minutes and those few minutes might be the difference between a sales person making a contact or not.

I have had special cards printed with the company’s logo and message printed on the other side. When doing a card trick I make a visual card change in the customers hand and give the changed card as a souvenir to keep. This is very strong, because first of all the customer has an object to keep that changed in his hands impossibly and he will show it to others and tell them the story. The others will hear where this happened; the company name and the magicians name get free promotion. If he tells this story to his mates at the trade show café, one simple card trick can attract many more free customers per day to the stand. This is the power of good magic!

A magician at a trade show stand can create a much more memorable image of the company than a standard, often boring stand could ever do. Many trade shows stands are uninspiring, except to those particularly interested in the product. People walk around and see the same type of stands over and over again, and we need something to really awaken their interest, get them to stop, wake up from their day dreaming state and visit this interesting stand. Using a magician as an attraction creates a different image and can easily make this company stand out from the others offering the same product or services. It also makes you memorable, and sometimes at trade shows this is all you seek.

The best way to do this, for me as a magician, is to use close up magic and impromptu stand up performances by the stand. I might start slowly with close up and get some people interested and then slowly turn it to a more public performance. For the stand up shows, I use a wireless microphone, some colorful items in the beginning that change fast and some custom build sound effects in between effects. Humor is also very important, and once a good crowd is gathered, the important message is simple to deliver. If done correctly and professionally customers will remember this company and they get many new potential clients.

About the Author:

Kim Wist is a professional magician and one of the most successful performers in Finland, web site: Kim Wist

Article Source: http://www.articlesbase.com/art-and-entertainment-articles/trade-show-entertainment-762498.html

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Advertising Standards – What Does It Mean For You

April 18th, 2009

This article is a follow up one to our previous article entitled We Are The Biggest, Best, And No1?

Everyday we are all bombarded with adverts on the TV, radio and the internet. All these adverts are governed by a code in the UK issued by the Advertising Standards Authority. This body makes sure that adverts comply with the code and if they don’t then the company either has to change it or the advert is banned.

So what impact does this have on internet based businesses and websites, most companies have them, but what do the rules mean for them. Are web sites affected? The answer is YES. You didn’t know that? Now you do. Your web site could be breaking the law.

The Advertising Standards Authority states “When a business advertises it’s products or services, it is important to make sure the advertising is not misleading.” Surely, you say, this only applies to advertising  and you would be wrong. I’ll expain things as we go along. An advertisement can be deceptive in various ways including where it:

  • Contains a false statement of fact
  • Conceals or leaves out important facts
  • Includes or implies a promise, that will not be fulfilled
  • Creates a false impression, even if everything stated may be literally true

Now I am sure anyone reading this is saying what has this got to do with my web site? The answer is that a web site is classed as advertising. Under the Control Of Misleading Advertisements Regulations 1988 the Office Of Fair Trading (OFT) can take action against companies in breach of the regulations. This includes what they put on a web site. The also have powers under The Enterprise Act 2002. There is an upside in that the OFT will not normally act unless all other avenues for remedy have been tried although these avenues are different from case to case, if no intermediate avenue exists they can act immediately.

So what does this mean for web sites and the owners. Well simply put it means any claims you make about yourselves, a product or service MUST be accurate and that you must be able to prove such.

Before taking action the OFT must be satisfied that there is an advertisement as defined in the regulations. Advertisement means any form of representation which is made in connection with a business, craft or profession in order to promote the supply or transfer of goods or services, immovable property, rights or obligations. This includes representations (i.e. Statements) made orally, in printed material, web sites, e-mails, SMS text messages or pictures, and covers advertising in just about every type of commercial activity.

Any claim made on a web site must be able to be independantly verified and you must be able to supply the documentation of such on demand. What does this mean to a web site owner, well if you claim to be the biggest, the best etc you must be able to prove it if not you are breaking the law, and could end up in court.

Let us look at a simple example, a company claims to be the fastest growing in its field. If a company has one emplyee and takes on another it has grown by 100%, however if another compay that has one employee takes on two more it has grown 200%. This however is not a great indicator of a company being the fastest growing, even though it may be technically correct it is also misleading as the turnover may be minimal. A large company of five thousand employees taking on one more is not growing as fast in percentage terms, but if their turnover increases fromm £1o0,000 to £1,000,000 then the company has grown and such an increase could make it the fastest growing company in its sector of the market. However to claim such would need independant verification from an authorotive body.

When making a claim be aware that in doing so YOU have to be able to PROVE IT idependantly otherwise you risk running foul of the law. One complaint is all it takes.

I hope this gives you pause for thought and that if you do have any claims on your we site that cannot be independantly verified you consider removing them or getting the verification. It may save you a lot of headaches in the future.

©Paul Sims
CEE Worldwide Entertainment Agency

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PAT (Portable Appliance Test)

April 18th, 2009

Introduction

PAT or portable appliance testing is an important part of any Health and Safety Policy.

The Health & Safety Executive states that 25% of all reportable electrical accidents involve portable appliances. The Electricity at Work Regulations place a legal responsibility on employers, employees and self-employed persons to comply with the provisions of the regulations and take reasonably practicable steps to ensure that no danger results from the use of such equipment. This in effect requires the implementation of a systematic and regular program of maintenance, inspection and testing
The Health & Safety at Work Act (1974) places such an obligation in the following circumstances:

1. Where appliances are used by employees.
2. Where the public may use appliances in establishments such as hospitals, schools, hotels, shops etc.
3. Where appliances are supplied or hired.
4. Where appliances are repaired or serviced.

The level of inspection and testing required is dependent upon the risk of the appliance becoming faulty, which is in turn dependent upon the type of appliance, the nature of its use and the environment in which it is used.

Who Is Responsible

The Provision and Use of Work Equipment Regulations 1998 (PUWER) requires, every employer to ensure that work equipment is suitable for the purpose for which it is provided, only used in the place and under the provisions for which it is provided.

Regulation 3 of the Electricity at Work Regulations 1989 recognises a responsibility that employers and many employees have for electrical systems.

It shall be the duty of every employer and self employed person to comply with the provisions of the Regulations in so far as they relate to matters which are within his control.

It shall be the duty of every employee while at work:
a) to co-operate with his employer so far as is necessary to enable and duty placed on that employer by the provision of the Regulations to be complied with: and
b) to comply with the provision of these regulations in so far as they relate to matters which are within his control.”

Types Of Appliance

Portable Appliance Equipment

There are many European standards and guidance notes regarding portable appliances and equipment, though they do not establish a common and specific definition of such equipment. Even so, there does seem to be a consensus of opinion that such equipment is either hand held whilst being connected to the supply, or is intended to be moved whilst connected to the supply, or is capable of being moved without undue difficulty whilst connected to the supply.
The National Association of Professional Inspectors and Testers (napit) define a portable appliance as ‘any electrical item which can or is intended, to be moved whilst connected to an electrical supply.

The IEE Code of Practice gives guidance on various equipment types:

Portable Appliance

It is usual for this equipment to be connected to the supply via a plug and socket, however this is not a requirement for electrical equipment to be deemed portable or transportable. It is common to define a portable appliance by saying that it is ‘anything with a plug top on the end of it’. This is a mistake as it may mean that there are some appliances in the system that are never tested.It also requires every employer to ensure work equipment be efficiently maintained and kept fit and suitable for its intended purpose. It must not be allowed to deteriorate in function or performance to such a level that it puts people at risk. This means that regular, routine and planned maintenance regimes must be considered if hazardous problems can arise. An appliance of less than 18kg in mass that is intended to be moved whilst in operation or an appliance which can easily be moved from one place to another, e.g. vacuum cleaner, toaster, food mixer, etc.

Movable Equipment (Transportable)

This equipment is either:

18 kg or less in mass and not fixed, e.g. electric fire.
or
Equipment with wheels, castor’s or other means to facilitate movement by the operator as required to perform its intended use, e.g. air conditioning unit

Hand Held Equipment Or Appliances

This is portable equipment intended to be held in the hand during normal use, e.g. hair dryer

Stationary Equipment Or Appliances

This equipment has a mass exceeding 18kg and is not provided with a carrying handle, e.g. refrigeratorThis equipment is intended to be installed in a prepared recess such as a cupboard or similar. In general, equipment for building in does not have exposure on all sides because one or more of the sides, additional protection against electrical shock is provided by the surroundings, e.g. built in electric cooker

Fixed Equipment Or Appliances

This is equipment or an appliance which is fastened to a support or otherwise secured in a specific location, e.g. bathroom heater

Equipment Or Appliances For Building In

This equipment is intended to be installed in a prepared recess such as a cupboard or similar. In general, equipment for building in does not have exposure on all sides because one or more of the sides, additional protection against electrical shock is provided by the surroundings, e.g. built in electric cooker

Information Technology Equipment

Information technology equipment includes electrical business equipment such as computers and mains powered telecommunications equipment, and other equipment for general business use, such as mail processing machines, VDU’s photo-copiers.

Assessing The Frequency Of Testing

The Health & Safety Executive offers no absolute rules on the frequency of the testing and inspection of portable appliances. The Memorandum of Guidance on the Electricity at Work Regulations suggests that ‘regular inspection of equipment is an essential part of any preventative maintenance program’, but no attempt is made to specify the intervals of time implied by the word ‘regular’. The reason for this omission is obvious; different situations require different measures in order to meet the requirement that the danger is prevented. The factors which effect the frequency of testing must be assessed by the duty holder who thereby makes the judgment.

In arriving at a judgment as to the frequency of testing, a duty holder is likely to assess the following factors:

1. The environment – equipment installed in a benign environment will suffer less damage than equipment in an arduous environment
2. Users – if the users report damage as and when it becomes evident, hazards will be avoided. Conversely, if equipment is likely to receive unreported abuse, more frequent inspection and testing is required
3. The equipment construction – the safety of a Class 1 appliance is dependent upon a connection with earth of the electrical installation. If the flexible cable is damaged the connection with earth can be lost. Safety of Class 2 equipment is not dependent upon the fixed electrical installation
4. The equipment type – appliances which are hand held are more likely to be damaged than fixed appliances. If they are Class 1 the risk of danger is increased, as the safety is dependent upon the continuity of the protective conductor from the plug to the appliance.

Estimate Of Risk

This is a simple calculation to give an estimate of the level of risk of items of electrical equipment.
Start with a BASE RISK of 0 POINTS then add:
• 2 points if the item is used in a wet or corrosive environment OR uses water or a corrosive substance in its operation. (e.g. Kettle)
• 2 points if it has a flexible supply cord that is subject to flexing OR that is subject to harsh treatment.
• 1 point if it has a heating element OR 240V electric motor.
If the sum is 2 points or more it is GROUP A, High Risk
If the sum is 1 point it is GROUP B, Medium Risk
If the sum is 0 points it is GROUP C, Low Risk

In Service Testing

The IEE Code of Practice recognises four test situations.

1. Type Testing to an appropriate standard
2. Production testing
3. In-Service testing
4. Testing after repair

This section is limited in covering topics concerned with In Service Testing only.

This is the testing carried out as a routine to determine whether the equipment is in a satisfactory condition.

In-Service testing will involve the following:

(a) Preliminary inspection
(b) Earth continuity tests (for Class 1 equipment)
(c) Insulation testing (Which may sometimes be substituted by earth leakage measurement)
(d) Functional checks.

Electrical testing should be performed by a person who is competent in the safe use of the test equipment and who knows how to interpret the test results obtained. This person must be capable of inspecting the equipment and, where necessary, dismantling it to check the cable connections.

If equipment is permanently connected to the fixed installation, e.g. by a flex outlet or other accessory, the accessory will need to be detached from its box or enclosure so that the connections can be inspected. Such work should only be carried out by a competent person.

Who Should Carry Out The Inspection And Testing

The Electricity at Work regulations states that:

“No person shall be engaged in any work activity where technical knowledge or experience is necessary to prevent danger, or where appropriate, injury, unless he possesses such knowledge or experience, or is under such degree of supervision as may be appropriate having regard to the nature of the work”

The IEE Code of Practice states, those carrying out the inspection and testing must be competent to undertake the inspection and, where appropriate, testing of electrical equipment and appliances having due regard of their own safety and that of others.

What should be considered is that the ‘danger’ to be prevented, includes not just the dangers which may arise during the testing procedure to the tester and others, but also the dangers which may arise at a later date as a result of using equipment which has not been effectively tested.
The tester must have an understanding of the modes of electrical, mechanical or thermal damage to electrical equipment and appliances and their flexes which may be encountered in any environment.

Training must include the identification of equipment and appliance types to determine the test procedures and frequency of inspection and testing.

Persons testing must be familiar with the test instruments used and in particular their limitations and restrictions so as to achieve repeatable results without damaging the equipment or the appliance.

Visual Inspection

Formal visual inspections should only be carried out by persons competent to do so.

The results of the inspection must be documented.

The following must be considered when carrying out the inspection:

Suitability Of The Equipment/Environment

The equipment should be assessed for its suitability for the environment or the nature of the work being undertaken. When the work environment is harsh or hazardous particular care needs to be taken when selecting the equipment and assessing the frequency of inspection and testing.

Good Housekeeping

A check should be made to ensure the equipment is installed and is being operated in accordance with the manufacturers instructions.

Notwithstanding the manufacturers instructions, the following are examples of items which should be checked:

(a) Cables located so as to avoid damage
(b) Means of disconnection/isolation readily accessible
(c) Adequate equipment ventilation
(d) Cups, plants and work material correctly placed to avoid spillage
(e) Equipment positioned to avoid strain on cord
(f) Equipment is being operated with the covers in place and any doors are closed
(g) Indiscriminate use of multi-way adapters and trailing sockets is avoided
(h) No unprotected cables run under carpets

Disconnection Of Equipment

The means of isolation from the electricity supply must be readily accessible to the user, i.e. in normal circumstances it must be possible to reach the plug and socket without too much difficulty.

The Condition Of The Equipment

Prior to the commencement of the users should be asked if they are aware of any faults and if the equipment works correctly. The following items need to be inspected:
(a) The flexible cable
(b) The socket outlet, if known
(c) The appliance
(d) The plug head
Some of the following checks may not be possible for equipment fitted with a nonrewireable plug
(i) Check detachable power cords to Class 1 equipment incorporates a CPC
(ii) Identify signs of overheating
(iii) Internal inspection; cord security, polarity, connections
(iv) If non-rewireable plug; cord security, burning odours
(v) Correct size fuse fitted, BS marked, ASTA marked
(vi) Security of plug cover
(vii) Check the flexible cable connections and anchorage at the equipment, if practical.

Electrical Testing

Electrical testing of portable equipment will involve the following:
(i) Earth bond continuity tests
(ii) Insulation resistance testing
(iii) Functional checks
(a) Earth Bond Test (Class 1 equipment only):
Readings should show less than 0.1+R Ohms (where R is the resistance of the lead)
Tested at a current of 1.5 times the rating of the fuse and no greater than 25A for a period of between 5 and 20 seconds or with a short-circuit test current within the range 20mA to 200mA.
(b) Insulation Resistance Test:
The applied test voltage should be approximately 500 Vdc
Class 1 heating equipment < 3kW 0.3M Ohms
Class 1 All other equipment 1M Ohms
Class 2 Equipment 2M Ohms
Class 3 Equipment 250k Ohms
(c) Optional Tests:
Flash Test: No flash-over or breakdown shall occur
Operation/Load test: Compare reading with stated details on nameplate
Earth leakage test:
Class 1 Handheld Appliances 0.75mA
Other Class 1 Appliances 3.5mA
Class 2 Appliances 0.25mA

Record Keeping

It has been seen that it is a defense under Regulation 29 of the Electricity at Work Regulations for a duty holder to ‘prove that he took all reasonable steps and exercised all due diligence to avoid the commission of that offense’. It seems clear that the most effective method by which a duty holder can prove this in court would be by producing records. Without records it would be extremely difficult to convince the court that the defendant had acted within either the letter or the spirit of the law.

Records are essential if a proper and organized system of testing is to be established.

The keeping of suitable records then is essential. They provide evidence for the defense in the event of a prosecution; more practically, such records enable the close monitoring of the equipment highlighting potential faults or adverse trends. They are also essential in forming an accurate assessment of the necessary frequency of testing.

For example, if over a number of consecutive test cycles few or no failures were recorded then he duty holder may consider reducing the frequency of tests, obviously the converse may also apply.

Replacement Of Appliance Flexes

For flexes to be protected by the fuse in a BS1363 plug there is no limit to their length, providing their cross-sectional areas are below:
3A 0.5mm 2
13A 1.25mm 2

Other considerations such as voltage drop may limit flex lengths. Smaller CSA’s than those given are acceptable if flex lengths are restricted. However, for replacement purposes the above simplified guidance is appropriate.

The maximum lengths recommended for extension leads are not applicable to appliance flexes or cords.

Fuse Ratings

For the convenience of users, appliance manufacturers have standardized on two plug fuse ratings- 3A & 13A and adopted appropriate flex sizes. For appliances up to 700W a 3A fuse is used, for those over 700W a 13A fuse is used.

The fuse in the plug is not fitted to protect the appliance, although in practice it often does this. Appliances are generally designed to European standards for use throughout Europe. In most countries the plug is unfused. If an appliance needs a fuse to comply with the standard it must be fitted within the appliance. The fuse in the plug protects against faults in the flex and can allow the use of a reduced csa flexible cable. This is advantageous for such appliances as electric blankets, soldering irons and Christmas tree lights, where the flexibility of a small flexible cable is desirable.

RCD’s

RCDs are often known by other names, eg., earth leakage circuit breakers (ELCB) or safety switches.

An RCD is an electrical safety device specially designed to immediately switch the electricity off when electricity “leaking” to earth is detected at a level harmful to a person using electrical equipment. An RCD offers a high level of personal protection from electric shock. Fuses or overcurrent circuit breakers do not offer the same level of personal protection against faults involving current flow to earth. Circuit breakers and fuses provide equipment and installation protection and operate only in response to an electrical overload or short circuit. Short circuit current flow to earth via an installation’s earthing system causes the circuit breaker to trip, or fuse to blow, disconnecting the electricity from the faulty circuit. However, if the electrical resistance in the earth fault current path is too high to allow a circuit breaker to trip (or fuse to blow), electricity can continue to flow to earth for an extended time. RCDs (with or without an overcurrent device) detect a very much lower level of electricity flowing to earth and immediately switch the electricity off.

RCDs have another important advantage – they reduce the risk of fire by detecting electrical leakage to earth in electrical wiring and accessories. This is particularly significant in older installations.

How They Work

RCDs work on the principle “What goes in must come out”. They operate by continuously comparing the current flow in both the Active (supply) and Neutral (return) conductors of an electrical circuit.

If the current flow becomes sufficiently unbalanced, some of the current in the Active conductor is not returning through the Neutral conductor and is leaking to earth.

RCDs are designed to operate within 10 to 50 milliseconds and to disconnect the electricity supply when they sense harmful leakage, typically 30 milliamps.

The sensitivity and speed of disconnection are such that any earth leakage will be detected and automatically switched off before it can cause injury or damage.

Analyses of electrical accidents show the greatest risk of electric shock results from contact between live parts and earth.

Contact with earth occurs through normal body contact with the ground or earthed metal parts. An RCD will significantly reduce the risk of electric shock, however, an RCD will not protect against all instances of electric shock. If a person comes into contact with both the Active and Neutral conductors while handling faulty plugs or appliances causing electric current to flow through the person’s body, this contact will not be detected by the RCD unless there is also a current flow to earth.

On a circuit protected by an RCD, if a fault causes electricity to flow from the Active conductor to earth through a person’s body, the RCD will automatically disconnect the electricity supply, avoiding the risk of a potentially fatal shock.

Examples of equipment recommended to be protected by a RCD:

• Hand held electric power tools, such as drills, saws and similar equipment.
• Tools such as jack-hammers, electric lawn mowers.
• Equipment on construction sites.
• Equipment such as appliances which move while in operation, such as vacuum cleaners and floor polishers.
• Appliances in wet areas such as kitchens, including kettles, jugs, frying pans, portable urns, food mixers/blenders.
• Hand held appliances such as hair dryers, curling wands, electric knives etc.
• Cord extension leads.

Testing RCD’s

Testing of non-portable RCDs on switchboards or inbuilt into socket outlets must be carried out on a regular basis. This includes both push button testing by the user and inspection testing for operation by an electrician.

Unless operated from time to time, an RCD may “mechanically freeze” and not trip when required.

Push-button testing by the user only confirms satisfactory mechanical performance of the tripping mechanism of the RCD. It does not replace inspection testing for operation by a licensed electrical worker.

As non-portable RCDs are far less susceptible to damage than portable RCDs, they are not subjected to the same testing and inspection procedures.
In the case of non-portable RCDs, push button testing is recommended at three monthly intervals.

After tripping out, an RCD must be re-activated only when the cause of the trip has been established and remedial action taken.

Copywrite

The above article has been produced from information supplied by Images Superstore. CEE Worldwide Entertainment Agency would like to thank Billy Sheridan and all the staff for allowing us to reproduce this material and acknowledge their copyright to it. This material has been reproduced by permission. It may not be reproduced or republished on any site without the express permission of Images Superstore. This information may be downloaded and/or printed for personal use only.
© Images Superstore 2008. All Rights Reserved.

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We Are The Biggest, Best, And No1?

April 18th, 2009

Like many people I often browse the World Wide Web looking for something new. Not only do I do this for pleasure but also in my job when looking for new acts for the entertainment agency of which I am CEO.

Frequently I come across sites claiming to be The Biggest, The Best or No.1 in their particular field and this made me wonder. If you look long enough at the net you will find these claims by numerous companies within the same field, so who is The Biggest, The Best or No.1.

I thought long and hard about this and to be honest I don’t know, but it would seem to be just a marketing tactic in most cases. We all know that market research companies and the like often rate well-known companies independently, but this is not the case in most businesses. High street names are well known as are an international manufacturing company, which however is not quite so true on the web.

Perhaps it would be a good idea for Internet companies who make these claims to back it up with independent clarification or not make them at all. That way everyone would know if the claims made are real. The other question I then find myself asking is if these companies are making dubious claims as a marketing tactic what other dubious practices are they up to. Yes I know lots of questions that just seem to raise more.

A case in point that all this reminded me of was a friend of mine many years ago who stated on his website that his company had been voted No.1 in a particular field. I queried this with him one day and asked about it. He replied that he had asked his family to vote and they had voted him No.1. Hardly surprising! He then used this as a promotional gimmick. Whilst his family may have voted, the vote was an obviously biased one and not in the true spirit of competition. It is also true that because a vote had taken place he was not technically lying, but it was most certainly a very distorted view that he painted. These are tactics that companies I am sure use everyday on the web.

This leads me on to my next point. Just because a company is number one for a particular keyword or set of keywords on the Internet does not necessarily mean they are The Biggest, The Best or No.1. It just means that for a particular keyword their website is better optimized for it than others. If you look around you will probably find that they rank lower on other search engines for the same keywords. Another indication is page rank; check the actual page rank and you will often find lower page rank sites above higher page rank ones, it’s not about good content it is about optimization. How do I know this, well from the experience of my own company? We have a Google page rank of 3 yet we are behind others of lower page rank 1-2 for certain keywords. Not that this matters to us, as we know we have a good product range and solid client base.

The point of this article is to say be aware. Just because a site makes a claim it does not mean it is true. Anything can be manipulated to make one thing seem like something else, we see it in government, and on the news all the time. It’s spin doctoring pure and simple. So next time you are looking for something don’t just go for the company claiming to be The Biggest, The Best or No.1 look further and you might be surprised at what you find. The other thing to remember is if a company has to make the claim of being The Biggest, The Best or No.1 they are probably trying to cover up something, a good company has no need to make those claims, the product or service speaks for itself.

Here are some quotes taken from pages or advertising of five entertainment agencies in the UK within the last 24 hours:

“the country’s fastest growing provider of live entertainment”

“the UK’s premier live music agency and the largest online entertainment booking service in the world”

“The UK’s No1 Entertainment Agency”

“UK’s leading entertainment specialist”

“the leading UK based live entertainment service provider”

I’d like to wish anyone who reads this happy surfing and hope that it has made you think a little.

© Paul Sims 2008
CEE Worldwide Entertainment Agency

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The Cost Of Entertainment

April 18th, 2009

I know I should not be, but the truth is, I still find that many people have unrealistic expectations when it comes to the cost of entertainment.

So often we get inquiries from people looking for entertainment, such as a tribute band, and quoting a budget of £250.00 or less. If you think about it you can see just how unrealistic this is. Perhaps 30 years ago this would have been a fair amount to spend and would have brought you a great act, but not nowadays. In the 1970’s you could hire a really good mobile disco for £10 – £15 for a night, the same nowadays will cost you around £300.

The cost of entertainment is now relative to earnings, in the 1970’s people maybe earnt £30.00 a week, now the average is £300.00. You could buy a house in the 1970’s for £20,000 now you will find that one will cost around £200,000. Costs do not stand still, we do not live in a time warp, and todays entertainment costs reflect that.

I often think how nice it would be if people actually were realistic in their expectations of what entertainment will cost them. Entertainment acts unlike high street shops do not have sales, but unlike high street shops the price is fairly constant. To see what I mean lets use supermarkets as an example. When you go into a supermarket you fancy a cream cake, you find a pack of chocolate éclairs that are on offer at £1.00 reduced from £1.20 this promotion lasts for say 4 weeks then when you go in and fancy an éclair you find that the price is £1.25, a five pence increase on what the original price had been. This is common in all forms of shopping, but shopping for entertainment is different.

It can be a year or two before an act increases prices and some acts prices do not increase for even longer periods. An act charges what it feels it is worth, not on what current market trends are. Yes you can find cheap acts, but ask yourself what is the quality of those acts, and why do they charge so little. When booking entertainment be realistic in your expectations of what you expect to pay, ask yourself what would you charge if you were a really good act. I asked my wife what she would expect to pay for a tribute act and she said around £1000.00 perhaps a lot more maybe a little less. This is a realistic figure and reflective of todays costs.

Before you think about booking entertainment, give some thought to what the real cost will be. Do not just pluck a figure out of the air, make some inquiries, and let yourself be informed. Being informed means that you can make a sensible choice for the entertainment that you need.

© Paul Sims 2009.

CEE Worldwide Entertainment Agency

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Digital Kills The Wedding DJ

March 13th, 2009

This article has been prompted by one that appeared in The Times Online some time ago. If you would like to read the original article please use the following link The Times Online.

The article refers to how some couples are using ipods to supply their wedding reception music as opposed to hiring a DJ, although this could also apply to any other event.

This may seem like a good money saving idea, but lets take a closer look at what it means in reality. I agree that couples could save money on hiring a DJ but, and it is a big BUT, what are the potential ramifications of doing so legally.

Firstly in the UK any electrical equipment used in a public place and accessible to the public must have PAT (Portable Appliance Test). This is to make sure that the device is safe electrically. That means using an ipod with any form of mains supply either to the ipod itself or a mains powered docking station must have PAT. There are many companies doing PAT, usually charging per item, but most also have a minimum fee of around £70.00 plus VAT.

The second factor is if extra amplification is required then it will mean hiring additional equipment which will also add to the overall cost.

The third factor is that an ipod does not come with any lighting which mean the hire of lighting effects if you want some.

It is now we hit the major stumbling block. If you are using such equipment you must be conversant with its safety and operating instructions. Why is this? Because you will be liable to be sued if anyone at the event has an accident, and if you have no knowledge of the safety and operating instructions then you cannot mount an active defense should the matter go to court. The next point to this is that to offset any possible action for injury you will have to have PLI (Public Liability Insurance). Yes the venue may have it but it is you who are responsible not the venue. PLI is not cheap to obtain, and if you read most small print it will require that all electrical items have a valid and current PAT, otherwise the PLI is void. PLI is a legal requirement.

Lets do some simple maths at this point:

PAT £70.00
PLI £150.00 (though you may get it cheaper)
Equipment hire £60.00 (hire equipment must already have PAT)

Total cost £280.00

Next let us take a look at using an ipod for your musical entertainment. You have downloaded your songs the party is going well, and then a guest wants a particular track, do you stop the music to download it as you don’t have it already or do you just say they can’t have it and risk offending them. This is something that should be considered, also how much do you spend downloading the tracks in the first place.

There is available a system that has 60,000+ tracks available to play, and which you can hire from certain places. Basically it is a large digital jukebox for want of a description cost on average £300.00, and yes it can do requests, but what happens when someone puts on a track they love that clears the dance floor. Or will the music someone likes and puts on offends other people at the event.

A good quality DJ will set you back on average £300.00 for the evening, some cost more some less, but £300.00 is a fair price, unless you have special requirements. A good quality DJ will also have PLI and all equipment will have PAT, if it is required. A DJ can also play requests, and adapt to different situations, being human has advantages. Then there are the times someone wants a request but can’t remember the title of the track and is also not sure who recorded it so they try and sing it to the DJ hoping they will know, now you can’t do that to a machine.

When all is said and done to be legal and do it yourself will cost the same if not more than getting someone to do it for you. The other benefit is they will also set all the equipment up and take it all down, and there is no having to return the hired equipment which saves on time too.

I hope the above has made you think a little, sometimes it is better to get a professional rather than DIY.

© Paul Sims

CEE Worldwide Entertainment Agency

We would like to thank The Times Online for allowing us to link to their original article. We would also like to thank the articles author Carol Midgley for her work, were it not for her this article may never have been written.

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Advice For New Entertainment Acts

February 25th, 2009

Welcome to the second of our guides. This one is for new acts starting out in the entertainment industry.

It can be very hard for new acts to find agency representation, due to the fact that they are new, and as such have no pedigree. A pedigree or experience if you prefer is what most agencies are looking for.

So what is a pedigree and how do you get one? Firstly a pedigree is the experience of playing or performing in front of a live audience. This is not just once but over a period of time and in different locations. This experience allows the act to be able to read a crowd and also deal with any problems efficiently should any arise. It is not about musical experience, as a group made up of professional session musicians can be great instrumentalists and singers, but still fall flat in front of a live audience.

It is possible to be a brand new act and yet also have a pedigree, if say the act or members of an act have all worked with other acts live previously.

So how does a new act overcome these problems? The most effective way to do this is find a management company. A good company will help an act develop and advise on presentation etc. A good management company will also work to promote the act so getting it bookings and through those experience. It will work to market and publicize the act and that will allow the act to develop it’s own pedigree.

Admittedly the type of gigs a new acts can expect to start with will be of low grade which also means the money will not be very good, but that said an act will be learning what is known in the industry as its craft. Once an act has gained experience then the agencies will look on them more favorably and the quality of bookings and also the money will increase proportionally.

Many acts will also self promote although because of the experience they have a management company is the best option. They can help polish an act and increase professionalism, that is what agencies are also looking for.

You can find many great management companies via the web nowadays, one we recommend is Henderson Management, but there are plenty of others.

We wish all new acts good luck and success.

© Paul Sims 2008

CEE Worldwide Entertainment Agency

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