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What You Need To Know About Peer Review
Monday, July 15th, 2019 Monday, November 15th, 2010 by Drew McManus
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It seems that a little ignorance can go a long way in this business and a classic example is just how little some stakeholders really know about peer review. Case in point, the 10/27/2010 blog post from conductor James Gaffigan is a perfect example of ignorance run amuck in that he exhibits particular dissatisfaction for the current system of peer review…
In order to make sure we're approaching this discussion from the same vantage point, peer review is the contractually defined process for removing a musician for artistic/musical reasons. It is not uncommon for "peer review" and "artistic review" to be used interchangeably.
Mr. Gaffigan's outlook takes what could be defined best as a stereotypical approach by identifying a system that is somehow beyond his control.
"I have conducted too many orchestras where individuals can't play their instruments anymore…We can't play God and tell people when to retire, still, I'm hoping that some changes may come to the system in the near future to encourage the timely turnover of orchestral chairs."
To be fair, Mr. Gaffigan certainly isn't the only conductor to express frustration with the artistic disciplinary procedures but the symptoms that have him hot under the collar aren't from some mysterious disease he's diagnosed. Instead, his dissatisfaction is self induced.
In order to understand why, here are the basics you (and Mr. Gaffigan) need to know about the peer review process.
The peer review process is spelled out in the collective bargaining agreement (CBA).
It is one of the most diverse clauses in a CBA as each orchestra determines the system it will use based on a number of variables unique to the institution. [At the end of this article, you'll find actual contract language from a few different professional orchestra CBAs to illustrate just how much variety exists.]
The peer review process is initiated by the employer and in all but a handful of professional orchestras; those duties are contractually assigned to the music director.
The problem with Mr. Gaffigan's position is it denies the fact that the system he's describing vis-à-vis peer review, relies on music directors. So as a conductor, if he is ever awarded a music director position at a professional orchestra, he is "The Man" in charge of the system "to encourage the timely turnover of orchestral chairs."
To begin with, no one really knows how efficient peer review processes are because there have never been any comprehensive studies on the topic (if someone knows of one, I'd love to hear about it). In all likelihood, we won't see one any time soon as personnel matters are typically protected by privacy laws.
Consequently, the only data we have to consider is anecdotal in nature and like most anecdotal evidence; people tend to recall the extremes rather than the norm. Nonetheless, of the contentious peer review processes I'm aware of, the majority were the result of a botched process and since the vast majority of these processes are initiated by the music director and guided by specific required measures, responsibility for those shortcomings rests squarely on his/her shoulders.
As such, it should come as no surprise that when the process is not followed, the likelihood of successfully removing a musician for artistic reasons becomes increasingly difficult. I do tend to believe that the majority of peer review processes are conducted properly and as a result, the musicians in questions are either removed or demonstrate required improvement and retained. So it should come as no surprise that we never hear about them.
As mentioned above, the extremes are what garner attention and based on my own observations, most of the frustrations surrounding peer review tend to stem from music directors who display one of the following characteristics.
Passive Aggressive Conductors: These conductors shy away from conflict and although they are aware of musical deficiencies, they prefer to willfully overlook them in hopes that others will solve the problems rather than engage in the peer review process. Motivation for this behavior varies from simple personality traits to overt distaste for any managerial oriented duties and responsibilities.
By failing to initiate the peer review process when needed, the organization suffers widespread frustration throughout all stakeholders, lowered music standards, and stunted artistic growth. Moreover, the subsequent music director inherits an environment of such artistic malaise that correcting past problems consumes most, if not all, of his/her tenure.
Rogue Bully Conductors: These conductors are the polar opposite of their passive aggressive peers in that they not only gravitate toward artistic disciplinary procedures but they believe they are exempt from following their respective peer review process. It is typical for these conductors to initiate artistic disciplinary actions (prescribed or rouge) based on motivations other than purely musical and with much higher frequency than their peers.
Failing to follow the peer review process typically results in widespread anger among musicians and in worst cases, invites grievances and lawsuits that end up costing the organization hundreds of thousands of dollars in legal fees and settlements. Worse still, years of artistic disciplinary abuse trains musicians and managers alike to become overly defensive, thereby making future artistic review procedures unnecessarily biased.
So Where Do We Go From Here?
Fortunately, the solution to fixing the system is entirely straightforward and we'll examine those answers and more in tomorrow's article. In the meantime, enjoy pursuing some actual peer review contract language:
EXAMPLE #1: 890 WORDS
PROBATION, TENURE, DISCHARGE, DEMOTION AND APPEAL
1.1 The first two (2) seasons of employment of a Musician shall be a probationary period provided the Musician's employment begins no later than October 30 of the first season. The Association and/or Music Director may terminate the employment of a probationary Musician by a written notice which must be received by the Musician no later than March 1 of each season of probation provided the Musician, in the presence of the Personnel Manager, shall have conferred with the Music Director by December 15 of said season and said notice shall include reasons which will affect any final notice by March 1. After December 15 of the second season of probation, if the probationary Musician has received no notice to the contrary, the Musician shall be considered tenured. Prior to the issuance of any notice or determination of tenure, the Music Director shall discuss the status of a probationary Musician with the appropriate Principal or related Principals. A non-tenured Musician (including non-tenured titled positions) may not invoke the Grievance Procedure as it applies to the termination or modification of his/her individual contract.
1.2 Non‑renewal of individual employment contracts or demotion from a tenured, titled position shall be initiated in all cases by the Association. Any tenured Musician deemed artistically incompetent by the Music Director shall receive a warning letter to that effect on or before October 30th of the then‑current season stating the reasons for such warning. The Musician shall be given the opportunity to schedule a conference with the Music Director to discuss the warning letter. Each party may bring the representative(s) of their choice, not to exceed three (3).
If, by agreement with the Music Director, the Musician satisfactorily complies with the requirements set forth by the Music Director, said warning notice will be lifted and the Musician will receive from the Association a letter of intent to continue employment for the forthcoming season. In the event the Musician in question is unable to fulfill the requirements set forth by the Music Director, said Musician shall then receive written notice from the Association of non‑renewal or notice of demotion prior to March 1 of the then‑current season and such notice shall state the reason(s) for such non‑renewal or demotion. In such cases, the Music Director's decision may be appealed, in accordance with the Appeals Procedure outlined in Article 22.4.
Discharge of the Librarian shall only be for Just Cause and the only recourse by the Librarian shall be the grievance and arbitration procedure.
1.3 In addition to musical reasons, the employment relationship and the individual contracts referred to in the foregoing Articles may only be terminated before expiration of the individual contract for just cause. Just Cause shall be subject only to the grievance and arbitration procedure as set forth in Article 23. This applies to work‑related circumstances only. Such proof shall be submitted to the Orchestra Committee and the President of the Union via the Union Steward, in writing, prior to termination.
1.4 Appealing non‑renewal or demotion for musical reasons:
Option 1: A tenured Musician desiring to appeal the decision of the Music Director in Article 22.2 must make a written appeal to the Orchestra Committee within thirty (30) days following the receipt of the formal letter of non‑renewal or demotion. The Orchestra Committee shall immediately notify the President of the Union. The President of the Union shall immediately convene the Musicians' Review Board (MRB).
The Musicians' Review Board shall be comprised of eleven (11) members of the Orchestra. The eleven (11) member committee shall include five (5) Section Musicians and five (5) Principal Musicians. The eleventh member shall be chosen from a list of either four (4) Section or four (4) Principal alternates, based upon whether the MRB is being activated by a Section or Principal Musician, in which case a Section Musician shall be selected for a Section Musician appeal and a Principal Musician shall be selected for a Principal Musician appeal.Each member of the Musicians' Review Board shall have at least five (5) years seniority in the Orchestra. The Musicians' Review Board shall be appointed by the President of the Union and the Orchestra Committee (for the ensuing season) no later than October 15th of each season. The Musician shall remain in his/her position until a final decision has been made.
The Musicians' Review Board shall thoroughly investigate the matter and shall reach a decision by at least a six-to-five (6-5) majority in favor of the Musician taken by secret ballot at the Union and tallied by the President of the Union and a member of the Association. Inability to reach a decision favorable to the Musician shall be a vote in favor of the Association. At the conclusion of the vote the matter shall be final and binding upon the parties.
Option 2: If settlement cannot be obtained through Orchestra Committee action, the Musician or the Association may then appeal directly to the President of the Union. The President of the Union shall initiate an inquiry and attempt settlement, and if settlement cannot be obtained, shall refer the matter for final decision to a neutral arbitrator selected under the rules and procedures of the Federal Mediation and Conciliation Service, or the American Arbitration Association. The decision of the Arbitrator selected in accordance with those rules and procedures shall be final and binding.
Modification/Termination of Tenured Member's Agreement
1. Should the Association wish to modify a tenured member's individual agreement for the following contract year, it must propose such modification in writing no later than December 15. Should a tenured member wish to modify his/her contract, he/she must inform the Association in writing no later than January 2. If a new (i.e., modified) individual agreement is not signed by both parties by January 15, then the existing Agreement shall be automatically renewed.
2. Should a tenured member wish to terminate his/her agreement with the Association, he/she must so notify the Association in writing no later than January 15. Should the Association wish to terminate a tenured member's individual agreement or propose a demotion on grounds of musical deficiency, it must notify that member in writing no later than six (6) weeks after the commencement of the then-current subscription season. Where the Association is aware of serious musical deficiency which is likely to result in the issuance of such notice to a member it will give advance written notice to the affected member to the extent practicable under the circumstances, with the understanding that such notice is intended to give the affected musician a reasonable opportunity to correct such alleged musical deficiency. Such notice shall lose its force and effect six (6) weeks after the commencement of the following subscription season. Subject to the rights set forth in Paragraph 6.5, the decision of the Association as to the dismissal or demotion of any member on grounds of musical deficiency shall be final, but any tenured member so dismissed shall be eligible to audition for the vacated position or any other vacancy pursuant to Paragraph 7.10.
EXAMPLE #3: 1,103 WORDS
CONTRACT RENEWAL
If a tenured Musician's musical skills and capabilities are questioned by the Music Director, a probationary notice and probationary Individual Employment Contract may be issued subject to the following terms and conditions:
The initiative for issuance of a probationary notice shall rest solely with the Music Director. The only basis for issuance shall be the Musician's musical competence in regard to the Musician's position and performance within the Orchestra. In the case of an extensive absence of the Music Director, the Artistic Adviso,r in collaboration with the Orchestra Committee may initiate the process.
The Music Director may not initiate probationary notice of any tenured musician in his/her last year as Music Director.
If the Music Director intends to issue a probationary contract to a tenured Musician for the following season, a meeting must occur between the Music Director and the musician during which the Music Director shall specify the musical reasons for his/her concern in detail. Such meeting shall occur no sooner than October 15, and no later than November 1.
If the musician has not shown considerable improvement, a warning notice in writing shall be given to or mailed by certified mail to the musician, no sooner than December 15, and no later than December 30.
By January 15, a meeting between the Music Director, the Personnel Manager, the principal of the section involved and the Musician will be held to discuss the specific musical reasons for the notice. Unless the Musician requests otherwise, the meeting may also be attended by representatives of the Orchestra Committee, Review Committee and the Union. The meeting shall be documented.
After the first meeting referred to above but not later than fourteen (14) days after the first meeting referred to above, each Review Committee shall meet to review all cases before it that season.
Following the Review Committee meeting(s) the Music Director shall give serious reconsideration to the status of each Musician faced with possible probation.
If, after the steps outlined above, the Music Director still desires to give a probationary notice to a tenured musician, the Music Director must notify the Review Committee by February 15.
The Review Committee shall meet not later than March 1, to decide whether it shall take an advisory vote on any of the Music Director's probationary decisions.
The Review Committee may choose to vote on upholding the Music Director or in supporting the Musician(s)
The Review Committee shall convey to the Musician(s) and the Music Director the results of its meeting and any votes if taken, in writing, not later than March 3.
The Music Director, following receipt of the results of the Review Committee's meeting may issue a probationary notice, provided that such notice includes the specific musical reasons for the notice and that such notice shall be given to or mailed to the affected Musician not later than March 6.
After a notice of probation has been issued, a minimum of two meetings must be held with the Music Director, the principal of the section involved, the Personnel Manager, the affected Musician and, unless the Musician requests otherwise, representatives of the Review Committee, the Orchestra Committee and the Union. . During such meetings, the musician's progress in the previously documented problematic areas shall be discussed, including plans for additional improvement.
A Musician who has received a probationary contract shall be afforded an opportunity to audition before the Review Committee not later than November 1 of the probationary year. An audition is not mandatory and the failure of the Musician to play such an audition shall not be considered by the Music Director in making his/her final determination. A Union representative shall monitor the audition. The audition shall have the following guidelines:
The audition shall be for a minimum of ten (10) minutes.
The repertoire shall be taken from works performed during the current or preceding season and for which the Orchestra has the music in its library. The Musician may choose the works to be performed.
The Association must make music available to the Musician on request.
Within two (2) weeks of the audition, or not later than November 15, if the Musician chooses not to have an audition, the Review Committee will meet for the purpose of learning from the Music Director if he/she still intends to not renew the affected Musician for the subsequent season. At that time or at a later date chosen by the majority of the Review Committee, but not later than December 15, the Review Committee may choose to vote to support the Musician, or it may choose not to vote at all.
If nine (9) or more members of the Review Committee vote in support of the Musician, the Musician shall be re‑instated to tenure and the case will be closed.
If seven (7) or eight (8) members of the Review Committee vote in favor of the Musician, the Music Director will have the option of either submitting the case to arbitration or continuing the Musician in probationary status for another year at which time the case will be reviewed again.
If six (6) or fewer members of the Review Committee vote in support of the Musician, the Musician shall be terminated at the end of that season.
If, after a second probationary contract, a final decision still cannot be reached by the Review Committee a board of arbitration must be formed to resolve the case.
The board of arbitration shall be composed of five (5) individuals, two (2) selected by the Association, two (2) by the Union and one (1) other member to be agreed upon by both sides. This individual shall be an impartial, actively performing musician within the same family of instruments from another major Symphony Orchestra. The decision of the board of arbitration as voted by three (3) or more members shall be final and binding on all parties. The arbitration process must be completed within sixty (60) days of the date of request for arbitration. In any such arbitration, the Association shall have the burden of providing by a preponderance of the evidence that the Musician lacks the requisite proficiency to continue to play in the Orchestra.
No Musician may be placed on probation for one full season after having tenure restored.
All procedures and actions set forth in this section on behalf of the Musician are automatic and can only be waived or stopped by the Musician in a written request presented jointly to the Review Committee and Management.
Non-Renewal of Tenured Musicians
A tenured Musician may only be dismissed for just cause, which shall include, but not be limited to, failing to meet the artistic standards of the Orchestra.
Reasons for a non-artistic dismissal must be specified in writing and received by the Musician.
No tenured Musician can receive a notice of dismissal for artistic reasons on February 15, without having received:
A prior personal meeting with the Music Director, together with the Union Steward, no later than the conclusion of the first week of the Music Director's presence following February 15 of the preceding season. All matters of substance relating to the specific artistic complaint shall be first presented to the Musician at this meeting. Each affected Musician shall receive written record of such meeting.
A prior written and specific warning by April 1, of the previous season; and,
An interim review meeting by November 15, attended by the Music Director, the Executive Director or his/her designee, the Personnel Manager, the Union Steward and the Musician in question.
No artistic dismissal procedure against a tenured Musician may be initiated in either the first or final season of a Music Director's tenure.
Non-renewal
Section 1.1 If the Corporation does not wish to retain the services of any musician who is a permanent member of the Orchestra, the following procedure shall be applied:
A. The initiative for non-renewal shall rest solely with the Music Director. The only basis for issuance of a non-renewal notice shall be the issue of a musician's musical competence.
B. If the Music Director elects to issue a non-renewal notice to a permanent member of the Orchestra, a probationary notice in writing shall be given the musician. Such notice shall be given prior to the start of the contract year. It is understood that the Music Director, or others who issue the notice, shall have been actively conducting the Orchestra during the season in which the notice is issued for an aggregate time of four (4) weeks.
C. Within ten (10) days of such notice, a meeting between the Music Director and the musician will be held to discuss the reasons for the notice; the Union Representative and at least a majority of the Review Committee shall be present at such meeting unless the musician requests otherwise.
D. After the first meeting referred to above, the musician may request a second meeting between the Music Director, the musician, the Union Representative, the Executive Director or his designated representative, at least a majority of the members of the Review Committee and the section principals from the appropriate instrument family (String, Woodwind, Brass, Percussion) to discuss and review the reasons for the issuance of the probationary notice. Following the meeting, the musician shall be given every opportunity to correct the alleged deficiencies, and the Music Director shall give serious reconsideration to the matter.
E. If, after the steps outlined above, the Music Director elects to give a notice of non-renewal to the musician, such notice shall be issued no later than December 15 of the contract year.
Section 1.2 If the musician wishes to protest the notice of non-renewal, (s)he must do so, in writing, to the Personnel Manager, the Union Representative, and the Federation within twenty (20) days of receipt of the notice of non-renewal.
Failure to file such a protest shall automatically terminate the appeal procedure and the decision of the Music Director shall be final and binding.
Section 1.3
A. If the musician files a protest of the issuance of a notice of non-renewal, within thirty (30) days after the filing of such protest, a meeting shall be held between the Music Director, musician, the Union Representative, the Executive Director, or his designated representative, at least a majority of the members of the Review Committee and the section principals from the appropriate instrument family. If the conducting schedule of the Music Director precludes him from attending such meeting within the thirty (30) day period, the time for the meeting shall be extended to a date no later than ninety (90) days from the date of the protest. The purpose of the meeting would be to discuss and review the reasons for the issuance of the notice of non-renewal.
B. If, after the above meeting, the Music Director does not change his decision and the Union Representative or the Review Committee so request, there shall be another meeting between the same individuals indicated above to again discuss and review the reasons for the issuance of the notice, except that the musician himself/herself shall not be present at this meeting. Prior to this meeting, the musician may request an audition to be performed before the Music Director, the Union Representative and the Review Committee and the quality of the audition (if performed) will be taken into account at the meeting described in Section 12.5B.
C. If the Music Director does not withdraw the non-renewal notice and the musician wishes to continue to protest the issuance of the notice, the matter shall be referred to the Review Committee. The musician must so indicate that (s)he wishes to continue the protest within ten (10) days of the above meeting. Failure to do so shall terminate the protest and the decision of the Music Director shall be final and binding.
Section 1.4 The Review Committee referred to above shall be composed of fifteen (15) permanent musicians of the [NAME OF ORCHESTRA REMOVED] nominated and elected by secret ballot by the permanent members of the Orchestra. The election shall take place annually at the same time as the election for the Orchestra Committee. The Committee shall be composed of five (5) principal musicians and ten (10) non-principal musicians. In considering the issuance of a non-renewal notice by the Music Director, as outlined above, the Review Committee shall vote by secret ballot whether to support or reject the decision of the Music Director on the issuance of the non-renewal notice: a vote of two-thirds (2/3) of the Review Committee shall be required to sustain the non-renewal; a vote of less than two-thirds (2/3) by the members of the Review Committee to sustain shall mean that such non-renewal notice will not be effective. If the vote of the Review Committee is to sustain the Music Director's decision, the musician to whom the non-renewal notice was issued shall terminate his/her services with the Orchestra at the end of that season.
Section 1.5 In the event a non-renewal notice is issued in accordance with the above procedure and such notice is not sustained by the vote of the Review Committee, the same Music Director who issued the previous notice may elect to again issue a non-renewal notice to the same musician. In the event the Music Director elects to do so, the probationary notice and the non-renewal notice shall be issued in accordance with the procedure outlined in the previous sections beginning with the issuance of the probationary notice.
Section 1.6 If, after the procedure outlined above has been completed, the Review Committee votes not to sustain the second non-renewal notice, the decision of the Music Director shall be final and binding and the musician's services shall be terminated at the end of the next full season unless the Union elects to refer the matter to arbitration in accordance with the provisions of Section 11.10.
If the Review Committee votes against the non-renewal in the second instance and the Union elects to arbitrate the matter and the Corporation elects not to proceed to arbitration on the matter, or if the non-renewal is supported by the Review Committee and the non-renewal notice is revoked by the Arbitration Panel, then the same Music Director may not issue a notice of non-renewal to the same musician earlier than one (1) complete season after the one in which the action was taken. If the Review Committee votes against the non-renewal notice in the second instance, and if the non-renewal notice is not supported by the Arbitration Panel, then the same Music Director may not issue a notice of non-renewal to the same musician earlier than two (2) complete seasons after the one (1) in which the arbitration decision was rendered. HEREINBEFORE, ALL REFERENCES TO MUSIC DIRECTOR SHALL BE DEFINED AS ABOVE.
Section 1.7 It is recognized that the existence and participation of the Review Committee is for the purpose of obtaining and maintaining the highest artistic and musical standards for the Orchestra and that the above procedures are not merely to be administered and implemented for the purpose of providing employment security for members of the Orchestra who do not meet the highest musical and artistic standards of the [NAME OF ORCHESTRA REMOVED].
Section 1.8 The Arbitration Panel selected to consider a non-renewal notice shall consist of three (3) persons knowledgeable in musical matters, one (1) chosen by the Corporation, one (1) chosen by the Federation (nominated by the Artistic Advisory Committee and approved by a majority vote of the Orchestra) and a third from outside the Metropolitan [NAME OF CITY REMOVED] area chosen by the two (2) other panelists.
A. The majority decision of this panel shall be final and binding on all parties.
B. All requests for arbitration shall be made, in writing, by the Federation within ten (10) days after the Review Committee has indicated its position on the matter. In the event that official notification is not received, the matter shall be terminated. All other matters under this Agreement that refer to arbitration shall be in accordance with the arbitration procedure in Section 33.3.
"I hear that every time you show up to work with an orchestra, people get fired." Those were the first words out of an executive's mouth after her board chair introduced us. That executive is now a dear colleague and friend but the day that consulting contract began with her orchestra, she was convinced I was a hatchet-man brought in by the board to clean house.
I understand where the trepidation comes from as a great deal of my consulting and technology provider work for arts organizations involves due diligence, separating fact from fiction, interpreting spin, as well as performance review and oversight. So yes, sometimes that work results in one or two individuals "aggressively embracing career change" but far more often than not, it reinforces and clarifies exactly what works and why.
In short, it doesn't matter if you know where all the bodies are buried if you can't keep your own clients out of the ground, and I'm fortunate enough to say that for more than 15 years, I've done exactly that for groups of all budget size from Qatar to Kathmandu.
For fun, I write a daily blog about the orchestra business, provide a platform for arts insiders to speak their mind, keep track of what people in this business get paid, help write a satirical cartoon about orchestra life, hack the arts, and love a good coffee drink.
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The Logan's Run Tenure Track
What You Need To Know About Peer Review Part 2
4 thoughts on "What You Need To Know About Peer Review"
Rob Simonds
Monday, November 15th, 2010 at 3:44 pm CST
As with virtually all contract language, peer review clauses are imperfect. But they mainly do their job of protecting players from overzealous music directors while providing conductors a mechanism to make changes if he or she is patient and can make a convincing case. The removal of a highly specialized worker from their job is a grave matter and must be treated as such.
There probably are as many variations in these clauses as there are orchestras. The issues on the table go much deeper than: Is there someone out there who can play better than who we have now? Each probation is unique to the player and the orchestra he works for. The review committee I served on engaged in nuanced discussions that involved many site specific topics that an outsider would find hard to understand.
Gaffigan's post highlights that his experience as a guest conductor has not given him the perspective of someone working day to day in an organization. His view is a snapshot of any given place. He would probably argue that he sees a pattern unfolding on a larger level than an employee of any one institution. To a degree he would be right.
He might also say that he sees a pattern of poorly sold classical concerts where he conducts. And maybe that he sees a common pattern of a workplace problems both on stage and in the office. Perhaps in his own way he is saying that. His solution to these problems is more turnover in personnel which is an expensive proposition both in human and financial terms. Both of my employers have engaged in costly and controversial personnel decisions. Neither institution saw gains that were proportional to either cost.
I sincerely doubt that any ICSOM orchestra does not play well enough to serve its community. This is not to say that each plays like the Cleveland Orchestra. However, most agree that orchestras have consistently improved since their founding. Yet we continue to spend good money after bad to improve the one thing we are already good at. We do this with scant evidence, at this point in our artistic evolution, that traditional classical music values are the driving force behind filling the remaining empty seats and attracting philanthropic dollars.
LukeB
Wednesday, November 17th, 2010 at 9:32 am CST
He's got comments enabled on his blog, but deletes them. I posted one the other day linking back to this article and the comment is now gone.
Drew McManus
Yes, it does look like he now has comments turned on. Regarding your trackback, was there any sort of "awaiting moderation" message? For his sake, I hope he has moderation turned on as I would never recommend allowing comments to go up automatically (i.e. spam magnet). If it is awaiting moderation, it may yet go up.
Kevin Good
Tuesday, November 23rd, 2010 at 7:43 pm CST
I have a rather unique perspective to offer- that of being the designated union representative charged with overseeing the non-renewal process of two of my colleagues. Long story short… the process here in Detroit worked just fine. The review committee supported the Music Director in one case and did not support him in another. Both sides respected each other and accepted that the procedure addressed the needs of the orchestra and the musician… and that it's not in anyone's interest to have a player on stage who's not up to the task.
Why, then, would our current "management" want to do away with this procedure?
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Q: Inject IOptions from array of sub-options to Service I have a web service that posts data to a variety of different external servers, with a specific server to use specified by the incoming data to my API. New servers could be added at any time.
I have an appSettings.json like this:
"Settings": {
  "SomeSetting1": "Value",
  "SomeSetting2": "Value",
  "ExternalServers": [
    {
      "Name": "ServerA",
      "Address": "ServerAAddress"
    },
    ...
    {
      "Name": "ServerZ",
      "Address": "ServerZAddress"
    },
  ]
}

With the following support classes:
public class MySettings {
    public string SomeSetting1 { get; set; }
    public string SomeSetting2 { get; set; }
    public List<ExternalServerSettings> ExternalServers { get; set; }
}

public class ExternalServerSettings {
    public string Name { get; set; }
    public string Address { get; set; }
}

I am injecting the full Settings in Startup.cs:
services.Configure<MySettings>(mySettings => Configuration.GetSection("Settings").Bind(mySettings));

I am creating a new service that I only want to inject an instance of ExternalServerSettings.
Currently I am doing this:
public class MyService : IMyService
{
    private readonly ExternalServerSettings ServerSettings;

    public MyService(ExternalServerSettings serverSettings) {
        ServerSettings = serverSettings
    }
}

In my controller or another service I will select the specific server based on inputs to the Post method.
But previously I have created other services which are injecting settings with IOptions:
public OtherService(IOptions<MySettings> mySettings)

//instead of...
public OtherService(MySettings mySettings)

The existential crisis I am having is that I am creating MyService knowing in advance that I would be selecting and injecting a specific object instead of using IOptions, but best practices dictate that I shouldn't know/care what is happening externally, and I would like to be able to create any Services consistently without worrying how they may be called. Is my pattern OK or is there a way to do this while still utilizing IOptions?
I am very new C# web API and dependency injection, and I just want to make sure that I am following best practices for when I move to more complex projects.

A: Below is a work demo, you  can refer to it.
TopItemSettings
public class TopItemSettings
    {
        public const string Month = "Month";
        public const string Year = "Year";

        public string Name { get; set; }
        public string Model { get; set; }
    }

Put below into appsetting.json
"TopItem": {
    "Month": {
      "Name": "Green Widget",
      "Model": "GW46"
    },
    "Year": {
      "Name": "Orange Gadget",
      "Model": "OG35"
    }
  }

Register month in the startup
 public Startup(IConfiguration configuration)
        {
            Configuration = configuration;
        }

        public IConfiguration Configuration { get; }

        // This method gets called by the runtime. Use this method to add services to the container.
        public void ConfigureServices(IServiceCollection services)
        {
            services.Configure<TopItemSettings>(TopItemSettings.Month,
                                      Configuration.GetSection("TopItem:Month"));

            //services.Configure<TopItemSettings>(TopItemSettings.Year,
            //                                    Configuration.GetSection("TopItem:Year"));
            services.AddControllers();
            services.AddSwaggerGen(c =>
            {
                c.SwaggerDoc("v1", new OpenApiInfo { Title = "OPtions", Version = "v1" });
            });
        }

ValuesController
[Route("api/[controller]")]
[ApiController]
public class ValuesController : ControllerBase
{
    private readonly TopItemSettings _monthTopItem;
    public ValuesController(IOptionsSnapshot<TopItemSettings> namedOptionsAccessor)
    {
        _monthTopItem = namedOptionsAccessor.Get(TopItemSettings.Month);
    }
    public ContentResult OnGet()
    {
        return Content($"Month:Name {_monthTopItem.Name} \n" +
                       $"Month:Model {_monthTopItem.Model} \n\n");
    }
}

Result:

redpajama_set_name: RedPajamaStackExchange


text:
Q: Reference Masterpage from BasePage I have a Masterpage with some public properties which I SET from the content page, however I now have a Basepage which holds the common functionality. Question, when I move the Master.MasterDBCode into the basePage but I cannot seem to reference the 'MasterDBCode' on the MasterPage like I did when it was directly connected to the content page...

Code that worked
In Masterpage
public string MasterDBCode
{
   get { return mDBCode; }
   set { mDBCode = value; }
}

In content page
<%@ Page Title="" Language="C#" MasterPageFile="~/SomeFolder.Master"
 AutoEventWireup="true" CodeBehind="somepage.aspx.cs" Inherits="SomeNamespace" %>
<%@ MasterType VirtualPath="~/SomeFolder.Master" %>

 protected void Page_Load(object sender, EventArgs e)
 {
    ...//other code

    Master.MasterDBCode = mDBCode;

    ...//more code
 }

----------Non working Code -------------
 public partial class basePage:System.Web.UI.Page
 protected override void OnLoad(EventArgs e)
 {
    ...//other code

    Master.MasterDBCode = mDBCode;

    ...//other code
 }

----------End of non working code ---------


text:
Q: Read controller data from outside VR Rig with action based input system I'm having trouble using the new action based input system in Unity OpenXR.
With the old (device based) input system it was possible to retrieve an input device object from outside the XR Rig using the InputDevices.GetDeviceAtXRNode(<node>) function.
For example: This is what I would do in the old system to retrieve position data of the right hand controller:
InputDevices.GetDeviceAtXRNode(XRNode.RightHand).TryGetFeatureValue(CommonUsages.devicePosition, out Vector3 position);
InputDevices.GetDeviceAtXRNode(XRNode.RightHand).TryGetFeatureValue(CommonUsages.deviceRotation, out Quaternion rotation);

Unfortunatly I can't find a way to do the same thing with the new action based input system. All the documentation that I could find on this topic refers to the old way of doing it. It appears that this method does not work anymore.
So, is there a way to retrieve an input device from outside the XR Rig using the new action based input system?
In case it helps: My Unity version is 2020.3.4f1 and I'm using the OpenXR plugin version 1.0.3.
Any help is greatly appreciated.

A: ActionBasedController[] controllerArray = ActionBasedController.FindObjectsOfType<ActionBasedController>();
ActionBasedController controller = controllerArray[0];

By calling this method you get all ActionBasedControllers returned as an array. The controller can be identified by their name.
controller.name.Equals("Left Controller")

The trigger value can be read by following command:
//Position
controller.positionAction.action.ReadValue<float>();
//Trigger
controller.activateAction.action.ReadValue<float>();
//Grip
controller.selectAction.action.ReadValue<float>();


German tuner Gemballa has officially released their tuning program for the Porsche Panamera. The Gemballa Mistrale is a true Gemballa product with several new design influences and a body kit completely made of carbon fiber.
The body kit replaces every single part of the standard body work leaving the roof and the rear trunk untouched. The Gemballa-style exhaust tips and signature side panels are easily noticeable. Same goes for the massive 22 inch wheels and the new vertical daylight running lights at the front.
The interior also received a massive upgrade using the standard setup and seat configuration of the stock Porsche Panamera.
The first stage of power upgrade for the twin-turbo V8 engine provides 610hp for the Panamera/Mistrale. The latter conversion is accompanied by a healthy 850Nm of torque. Really power hungry customers can opt for Stage 2, which gives the luxury saloon 700hp, and around 1,000Nm of torque. This output is achieved through the use of larger turbochargers, a modified intake system, high efficiency intercoolers, sports exhaust, free-flow catalytic converters and bespoke ECU remapping.


Albums are like fine wine, it only gets better with age. Can you Imagine what your wedding album is worth to your children and grand children? In the age of Swiping right or left to see the next picture, imagine giving them handcrafted wooden album with beautiful printed photographs that are priceless to your family. Wedding albums are family heirlooms and we make albums that are worthy to be called one.
Beautifully handcrafted wooden albums with names laser engraved. Minimal in design and elegant in looks is what we are going for here and I think y'all agree because it is our bestseller.
All our albums are flush mount and offer a strong bind to albums. Yes, they are heavier but they also make the album sturdy while emphasizing the work of art.
Handcrafted Jute albums for those who have a soft corner in their heart for our planet. These eco-friendly, yet, stunning books are made out of unprocessed jute and are truly a thing of beauty.


text:
Pentrebane
Proposed Development
Gwel y Garth
Pentrebane Road, Pentrebane, CF5 2PY
Learn more about our plans for an exciting new community in Plasdŵr
We are working closely with Cardiff County Council and other key stakeholders to plan our new neighborhood, Gwêl y Garth, at the ever-growing Plasdŵr development.
Our proposals for 335 homes include 1, 2, 3 and 4 bedroom properties, of which 101 will be affordable homes. This will provide great choice for all types of buyers and local people. Plasdŵr is Cardiff's garden city for the 21st Century, with 40% of the area being green space including woodland, parks and play areas. A new bus route will also run through the development, connecting all of the new communities to the city centre.
Plasdwr, Pentrebane Road, Pentrebane, Cardiff, CF5 2PY
Some images are used for illustrative purposes only and include optional upgrades at additional cost. Development managed by Taylor Wimpey South Wales.
Our proposal for Gwel y Garth
Our proposal: About our proposals Our approach Community benfits
We want to create a thriving new community within Plasdŵr and have now submitted plans to Cardiff County Council to build 337 new homes at Gwêl y Garth.
Once complete, Gwêl y Garth will include a range of 1, 2, 3, and 4 bedroom properties, of which 30% will be allocated as affordable housing for local people.
As a responsible housebuilder, we're committed to creating a greener, healthier future for future residents of Plasdŵr, as well as the local community. Up to 40% of Plasdŵr will be green space, including managed heritage woodland,
parks and play areas.
Our ambition is to create a unique neighbourhood with it's own character and identity but one that still compliments the local area and utilises locally sourced materials.
Future phases
Gwêl y Garth is part of phase 2 of Plasdŵr, which will eventually deliver more than 1,100 homes across the Pendown, Groeswen and Maesllech neighbourhoods. Phase 2 also includes plans for recreational sports pitches in Groeswen, as well as formal and informal green space throughout.
More developments are planned for the wider Plasdŵr scheme but Gwêl y Garth is the only proposed development by Taylor Wimpey.
Homes proposed
Our proposals include 336 new homes, consisting of a range of 1, 2, 3 and 4 bedroom properties. 101 of these are allocated as affordable housing for local people.
The proposals submitted include both detached and semi-detached housing of a contemporary style. A proportion of the properties are 2.5 and 3 storeys, designed to suit a growing need for this type of home.
The Plasdŵr development has been designed to make walking, cycling and public transport the easiest ways to get around.
A key, strategic cycle route will run through the development, eventually linking to the Ely Trail and helping to establish the active travel network that will make walking and cycling the easiest ways to get around Plasdŵr. A new bus route will also run through the development, connecting it with neighbouring communities and the city centre.
Preserving and enhancing local wildlife is a key consideration when we plan and build new developments. An environmental statement has been recorded for the wider Plasdwr development.
Within our proposals for Gwêl y Garth, we have identified several ways to enhance the site for wildlife and these include
Our approach features
Up to 40% of Plasdŵr will be green space, including managed heritage woodland, parks and play areas.
Amenities and facilities
We aim to support the communities in which we build. One way in which we do this is by providing new facilities that local people will benefit from.
As part of our proposal for Gwêl y Garth, we will create a new kickabout area for communities to enjoy. The wider Plasdŵr scheme will include one secondary and four primary schools, a district centre with shops, bars and restaurants, parks, playing fields, allotments and healthcare services.
Community benfits features
Sustainability Sustainability We're committed to building greener, healthier homes for us all. From energy efficient fixtures and fittings, to cutting our carbon emissions, and enhancing existing green spaces, we build sustainability into everything we do.
We believe it's our responsibility to support our communities, so that people are proud to call them home. That's why we regularly donate time and money to local causes, and are passionate about investing in the areas we build.
Why Taylor Wimpey? Learn more Why choose us? We're one of the UK's largest homebuilders. Find out why to choose us for your new home. Ways to buy Help with buying your new home Explore the ways we can help get your home buying journey moving. Why choose us Award winning homes We're proud to have been awarded 5 stars for customer satisfaction by the Home Builders Federation.
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redpajama_set_name: RedPajamaCommonCrawl


Mike Brown, a full-time auctioneer and realtor, has lived in Greene County for over 40 years. He and his wife, Nova, have 3 children.
Mike has been an auctioneer for many years, conducting over 100 sales a year. He is experienced in many types of sales from livestock to farm equipment to estates. He is also a real estate agent in Jamestown, Ohio.
" I am a full-time Auctioneer. I have been in the field for 12 plus years, and have been loving every minute of it. I am hardworking, honest,knowledgeable, and bring enjoiment to the auction experience. I am thankful for the support of my wonderful wife and 2 children. So if you are looking to enjoy your first auction or you are a seasoned veteran and get that sudden auction urge come check us out you wont be dissapointed.I look forward to working with you.
"With six years dedicated to the craft, and the support and encouragement of my family, I have enjoyed every aspect of the job. After completing the Warren County Career Center Auctioneer Program, I have been able to sell everything from personal property, to livestock at the Greene County Fair, to helping with various charity auctions. I look forward to making your auction a huge success."
I am a beginner in the auction industry, graduating from auction school and joining Mikes Auction Service, team in 2015. I am very excited to see what the future of being an auctioneer has in store for me. I have a wonderful family that stands behind me and is extremely excited to watch me succeed in this business. I am a strong individual, who isn't afraid to help in all aspects. If you see me around feel free to stop by and say hello.


Debt Factors | Why Do People Go Into Debt?
If I were to rate these I would put the lack of discipline as number one. In our convenience oriented world people often do not really interact with cash. The pay check is automatically deposited. Their bills automatically withdrawn. They pay for groceries, gas, and goods with a credit card. So they never really interact with cash. Why pay attention to it? Why spend time with it? As long as there is money in the account (and even when there is not) I can still charge that item, so why spend time trying to figure everything out?
Lack of contentment. Not really sure about this one. We are a people who seem to 'need' a lot. I do not know if we are not content, or greedy, or just have a high level of need. Probably we have a bit of all of these things.
Search for security. Be honest. We all feel a little better when there is a cash cushion in the account. The question is always when does saving become hoarding, and when does security become a false security with misappropriated hope? I suspect there are a lot of us who feel less secure after the 2008 experience than we did prior, and yet our God is the same yesterday, today, and tomorrow. Interesting to consider.
There is a lot to this. Power and significance go hand in hand. Seems as though the Bible does not have a lot of positive things to say about humanity's quest for power.
Perhaps I could add a fifth to the list – ignorance. Many people are in debt simply because they thought debt was the right or best way to succeed. They have not had much teaching at home. They did not get any teaching in school. One cannot know unless he has first been taught (unless he can teach himself, but that would require self-discipline which we have already recognized is in short supply in the financial realm).
By the way, to see more of Ron Blue's material you can check out his website here.


text:
African Music and Its Contribution to Modern Music
Pages:5 Words:1263
Subject:African, Music, Research
The modern music is characterized by the fusion and diversity in music. Different genres and different cultures mix and mesh with each other. The more musical genres come together and fuse, the greater the chances that from this mash-up will spring more and more newer musical genres and sub-genres and types that it is hard to brand a particular artist with a particular musical genre.Since anyone and everyone is hip-hop and metal, with a little ska and reggae and a dose of club music and electronic, simmering in a brew decorated with pop and hardcore punk, laced with world music or ethnic rhythmic beat every once in a while.
It seems that now more than ever, music has become more and more faceless and color-less. The then-exclusive rap and hip hop scene that was very restricted to people with African American roots and black to deep brown skin now is also the realm of white rap acts from Vanilla Ice to Eminem.Musical genres that are formerly marginalized and was hardly noticed by pop and mainstream is now carving a very big niche in the pop and mainstream music genre, like Bossa Nova and true blue jazz. Standing in the middle of the age of musical maturity, sophistication and diversity, it is still not difficult to find strings that manage to make every musical genre related and closely tied with each other.The influence of African music to the modern music is characterized by the role of the African music in shaping several musical genres, adding flavor and uniqueness to the different genres under the modern music category. This is the thrust of this paper; to discover, analyse and discuss some of the important points about the influence of African music to modern music today.
An important contribution of African music to modern music is the bringing of African music of musical instruments which is being used around the world today, played in different musical genres from rock, pop, experimental, world music and even techno-music. African musical instruments are providing new sound, new depth and flexibility to different non-African music and to different musicians and their songs, characterizing the significance of African music in the modern music landscape.But to say that Africa music only contributed that much is unfair, because there is more than the bringing of African musical instruments to the world that characterizes the contribution of African music to the modern music scene."This special contribution described in The Negro was made not only in the African influence on the invention of musical instruments, but also in the mingled African and American contribution of a new and original music to the western world, not only in the spirituals, but also in the blues and ragtime..
.the only kind of music brought forth in America by immigrants (Tracy, 2001, p. 19)."Venturing towards ascertaining the contribution and influence of the African music to modern music is not a new endeavor, especially since there are many efforts in the past and in the present as well to know how much modern music was influenced.Not only that, researchers are also focusing on finding out how exactly modern music was influenced by African music and African musical culture (not only limited to songs).
"Musical analysis, especially rhythmic analysis, is always in danger of being subjective and therefore insubstantial as proof.For this very good reason research concerning African musical influence in the Western hemisphere has had to emphasize the more tangible evidence of dance styles, social organization, or instrumental names and shapes; aural observations had had the force of peripheral comment, not data (Blacking, Kealiinohomoku, 1979, p. 288)."Then and now, African music has always been characterized as a music that consistently interacts with different people and different culture, and because of that, it is not surprising that African music has managed to contribute greatly in the different musical cultures of other countries around the world.
For the select few who has the more academic and learned approach towards the assessment of the African music influence on modern music, they can resort to analysing the scientific parts of music like patterns, rhythms and beat modes to ascertain if African music indeed provided influence and added significant flavor in the modern music as it is known and appreciated today."One can even perceive a strong influence of African-based patterning in both the experimental music and rock of the 1960s (Cox, Warner, 2004, p. 295)."African music and its influence to rock and rollThose who barely understood rock and roll, the roots of rock and roll and the history of rock and roll may not believe the fact that rock and roll is a musical genre that is heavily influenced by African music. Yes, today it is very hard to find a rock and roll artist who is African American, considering how incorrect sometimes individuals construe rock and roll, without consideration to its roots and ties with musical genres like blues and country and jazz which were also heavily influenced by African music.But the truth is, rock and roll, in general, is a musical genre which owed much of its growth and maturity with the impact and influence of African music.
This is very difficult to dispute since no one can really predict what would have happened to the Caucasian rock and roll during its early formation if African American artists hadn't dabbled in this particular genre and changed it as history knows it.But since African American musicians who tweaked and changed rock and roll and made it one of the very popular musical genres around the world because of what they did to rock and roll. It is but fair that rock and roll is considered as a musical genre, to which African (and African American) has a great part, when it comes to discussing the shaping of rock and roll as it is today and as it is appreciated in the modern world."The main point..
.is to make a claim that all forms of rock and roll have been strongly influenced by African-American music...
no great rock icon would be an icon had there not been the influence of African American music to draw upon (Curvebreakers, 2006, p. 143)."African music and the influence on jazz music Jazz is an important part of the modern music, and jazz would have not been what it is today if it was not for the role of African music in shaping it. "In its purer or more modern forms such as bebop, hard pop and free jazz, jazz was a highly specialized taste cultivated by a small group of African music aficionados (Veal, 2000, p.
42)."While there are those who think that jazz music are simply those slow songs with saxophones, horns, clarinets and violins, the truth is jazz started out to be a dance music shared and enjoyed inside the African culture and is an important part of the African musicality.Throughout the years and with exposure to different other cultures, jazz was shaped and re-shaped, but the essence of the African music influence in jazz remained. "The reciprocal influence of African music on jazz of the late 1950s and early 1960s was equally important (Veal, 2000, p. 42).
"Jazz as it is played, studied and understood today as a part of the modern music is never complete without the discussion of the contribution of African music to the jazz formula as it is used today. "African music was clearly referenced in the modal jazz developed by Miles Davis and John Coltrane in the late 1950s, and it would later figure equally in the various approaches of avant-garde jazz musicians (Veal, 2000, p. 42)."
Jembe: African Music
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Migration of professionals especially from the health sector of developing countries in…


Rodizio el Toro is a lively restaurant serving savory and hearty Brazilian meals. This spacious venue features several fabulously painted rooms on two levels. The restaurant's specialities include grilled meat dishes. The South American food is complemented with Latino music evenings. It is a perfect place to relax in a laidback atmosphere after a busy day.


KERRFEST is an outdoor music festival that has taken place in Kerr Village, Oakville, Ontario, the first weekend after Labor Day every September, since 2014. The festival is organized by the Kerr Village BIA and attracts thousands of people from the local area and surrounding Ontario Region. Every year the festival features major musical performances with past bands such as Loverboy, David Wilcox, Jim Cuddy, The Spoons, April Wine, Big Wreck, Bill Durst, Steven Page, and Cowboy Junkies just to name a few. The streets are busy with local merchants sales, patios, food samples, special offers and much more for every age and taste. This year on Friday, September 7th; Saturday, September 8th; and Sunday, September 9th; visit Kerr Village and enjoy the music, food and fun that KERRFEST has to offer.


This seamlessly flowing, custom built family home has a carefully crafted mix of old world charm and modern simplicity. This property is a great example of everything a family would want in a gorgeous natural setting. The property is located in Erie, Pennsylvania.


text:
Q: Skype is auto increasing volume Ok I have an odd issue going on here. Skype keeps increasing my volume despite having automatically adjust microphone settings unchecked.
I have unchecked give applications exclusive control in sound properties. I have also disabled all enhancements and it still does it.
Windows 8.1
builtin mic


Last weeks video was a cheeky little Primark haul that I wanted to share with my lovely blog followers! I love shopping in Primark and found some right bargains, but I will let you see for yourself!
Also make sure you are also subscribed or following this blog via friend connect or bloglovin' (It doesn't matter which!), also head over to my twitter and Instagram for even more content from me!
i love love love the cover sheet! its very chic!


Never keep all your travel cash in one place when traveling, not even in the in-room safe. Here are our best tips to keep your money.
Hotel room safes quite often fail, and hotel staff can access it. You're best off to spread your money around your clothing, wallet, safe, and some more unusual places.
Money belts are a pretty decent option if you're traveling to a city. You need a belt to hold your pants up anyway, so stashing money into it makes sense. Alternatively, a neck wallets is pretty comfortable, and leg money belt let's you strap money safely to your thigh. I'd get one in black.
Out of those, the leg money belt is the most secure. Pickpockets are used to tourists using money belts and neck wallets, so will literally cut them off you given a chance. A more ruthless thief would just rob you.
The most unusual product for keeping money safe may be the Brief Safe, a pair of men's briefs with a secret pocket where you can stash bills, documents, and other small valuables. Apparently, you "can secure your cash, documents, and other small valuables from inquisitive eyes and thieving hands, both at home and when you're traveling." Just to make sure no one nicks these, there are 'special markings' down the front and back... You can even add a realistic stink to the Brief Safe with Doo Drops ($9).
Yes, these are real products! Just don't put them in the wash.
And while you should never put all your money in your wallet, there should always be some. First of all, this is the money you'll use to pay for gelatos and coffees, but also what you'd hand a mugger. Just remember to take out your credit cards and similar things you walk around with at home in case it's stolen. You can always put in some expired cards to fool a thief.
Theft happens when you're traveling, but with some precautions, the damage is minimized. Don't let it put you off, just take care and spread your money around!
If you have some tips on safeguarding your travel cash, share them in the comments below.
Last updated by jack on 12 December, 2014 in Destinations.
The hidden belts and pouches are probably best overall. There's something "James Bond" about hiding stuff in some really strange places though!


The astonishing digital imagery below, is part of Honda City 2019 Pictures content which is listed within Review, honda city 2019, honda city 2019 uae, honda city 2019 india price and posted at January 9th, 2019 03:10:25 AM by admin.
Here is crucial notification on honda city 2019 price in uae. We have the prime resources for honda city 2019 price in uae. Check it out for yourself! You can discover Honda City 2019 Release Date guide and view the latest Honda City 2019 Pictures in here.


text:
Home / IDEX 2011
11 January, 2012 · by admin · in Ammunition, Grenades & Rockets, Show Reports, Suppressors, V3N3
Chinese company PolyTechnologies had the standard FN-16 and the longer range (5,500 m) FN-6 portable air defense missile weapon systems on display, but not the newer Q-series models. (polyinc.com)
CNO Tech in South Korea has added many modern magazines to their manufacturing, as well as extending their environmentally safe clay technology to not only the training hand grenades, but to the 40x46mm grenade launchers. (www.cnotech.com)
Colt Defense is solidly back to the front with their innovative new rifles, and their worldwide presence. It's been refreshing over the last few years to see what the Colt R&D crew has been turning out. Check out their IAR. (www.colt.com)
The RBS70 Short Range Air Defense Missile System is readily disassembled for transport and set up, and the SAAB personnel were demonstrating as we visited. This laser-beam riding guided missile has a range from 200 meters to over 8,000 meters and a maximum velocity of Mach 2. The warhead is a combination with around 3,000 tungsten spheres and a shaped charge. (saabgroup.com)
Schmeisser's AR platform is evolving into 9mm SMG and DMR sniper-type rifles. Their parts are billed as the 'Enhanced Performance Parts' and they can fill you in if you contact them, too many improvements to list here. (www.schmeisser-germany.de)
The Viper system from Nobles Manufacturing, Inc. is very popular now, and the 30mm M230LF chaingun is perhaps the most popular version, but there are 11 different weapons that can mount on the platform, including MK19 and M2HB. (www.noblesmfg.com)
FWS supplies detailed weapon storage solutions to military and LE customers. They have a variety of expandable and stackable storage racks as well as weapons cabinets, carts, and transport chests. (www.weaponstorage.eu)
Ukrainian company UKRSPECEXPORT had a large pavilion exhibiting many of their products. Three sections of interest to the small arms community were the wall of AKs and shotguns, the Fort 14 suppressor/pistol in 9x19mm, and the 'Skif' man-portable anti-tank missile that uses a tandem shaped charge with a range of 100-5,000 meters, and a penetration of 800mm of armor. (www.use.ua)
Croatia's Agencia Alan offers full lines of locally made weapons, munitions and gear. Indigenous firearms offered include the RT-20 20x110mm single shot sniper rifle with a range of 2,000 meters; Type HS handguns offered in 9x19mm, .40 S&W, .357 SIG, and .45 ACP; The Type VHS bullpup 5.56x45mm assault rifle with D and K variations; and the RBG-6 six shot 40x46mm shoulder fired grenade launcher. (www.aalan.hr)
The military attending IDEX were fascinated with the Steyr-Mannlicher HS-50 sniper rifle and its 1,500 meter range with .50 BMG (12.7x99mm) ammunition. At 12.4 kg (28.5 lbs) this single shot, bolt operated rifle has a small size for maximum punch. Steyr's new generations of the venerable AUG 5.56x45mm rifle were popular as well, with the AUG A3SF drawing the most attention. (steyr-mannlicher.com)
Girsan, from Turkey, had the Yavuz 16 collection, and the MC21 caught this author's interest. In .40 S&W (13-round magazine) and .45 ACP (9-round magazine), the MC21 was comfortable to grip and sight, so this new model bears watching. (www.yavuz16.com)
The Modiar group of manufacturers from Azerbaijan is working hard to reach the world market, and they are set up at many shows worldwide. Some of their traditional offerings are welcome due to low world supply, so the small arms ammunition is reaching the end users now. The belts, boxes, and blank cartridges are good market starters as well. Modiar is offering 30x29mm cartridges for the AGS-17-AGS-30 family of automatic grenade launchers, including training ammunition; VOG-25 series grenades for the front loading Soviet style under-barrel grenade launchers; and 60mm, 82mm, and 120mm mortar ammunition. The Azerbaijanis offered for SADJ to visit and test weapons, so as soon as we can arrange, we will bring you the reports. We're especially looking forward to testing their 14.5x114mm long range sniper system. (www.mdi.gov.az)
by Dan Shea on 11 January, 2012.
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