SIXTH SUPPLEMENTAL BRIEFThis is a featured page

MUTUAL AID SOCIETY OF AMERICA, INC. 103 Methodist St., Cecilia, KY 42724 Cell) 270-307-4857; Office) 270-862-4537 Skype) 270-872-4493; Fax. 270-862-4379 email) jimmiller5417@gmail.com
August 25, 2011
Mr. Joseph Williams
Associate Regional Counsel
Office of Regional Counsel
USEPA Region 5 (C-14J)
77 West Jackson Blvd.
Chicago, IL 60604-3590
(312) 886-6631(phone)
(312) 692-2965(fax) Email) Williams.Joseph@epamail.epa.gov

Re: Notice of Dispute on behalf of Mutual Aid Society of America, Inc.; Sixth Supplemental Brief, EPA GLNPO-2011-is-2-1356
Dear Mr. Williams:
This Sixth Supplemental Brief discusses the need for a robust marketing plan to sell Silverfin fish meat for human consumption and fish meal for livestock feed. The marketing plan includes sales and delivery within about 100 miles of either side of the major rivers of the mid-west infested with Asian carp by Carp Catchers forces and the domestic and international sales and deliveries. The “how-to” issues of attracting attention of top chefs and customers to the premium fish meat and the use of Silverfin as an hauteur entree is discussed as an attribute of the Silverfin Restaurant and Fish Market aboard the USES SILVERFIN. Because the ships' electrical systems are so critical to the operation of the fleet, particular attention has been and will continue to be devoted to the electrical engineering and the associated energy project management plan.

1. CARP CATCHERS COOPERATIVE MARKETING PLAN CONFIDENTIAL – CONTROLLED DOCUMENT
  1. OVERVIEW
Start with the cook. The cook needs both product and information on the use of the product for its food end product. The marketing plan must address both needs simultaneously at the point of inquiry and the point of decision, both at the grocery store and at the kitchen. Let's move backwards along the food chain. The “customer” is the eater. The food must be safe, clean, good tasting and nutritious. The safe and clean results from a very sanitary fish processing operation, the packaging and the use of the microwave food processing tunnel (MWFPT). Shipping requires assembly of cases on product on a pallet which produces a standard 4' x 4' x 4' cube, with the capability of stacking pallets two high on top of one another. These cubes must fit inside a standard cargo container, to be placed and removed by a forklift.
  1. PRICING
    1. Jimbo's in Escondido, CA, an organic food market, has a display of fish in its cooler display, laid on ice from $5.99 a pound to over $20.00 a pound. Part of the cost comes from having to toss fish which has turned sour.
    2. The packaged Silverfin fish meat will rarely, if ever, need to be “tossed”. The “secret” (only because its been ignored by the Major Media) is the Microwave Food Processing Tunnel, (MWFPT) which has been deployed for over ten years. This low-power system is said to produce vacuum packaged meat devoid of 100% of the pathogens, 100% of the time. The power of the magnetron tubes disrupts the DNA of all cell nuclei and thus prevents reproduction. This process means no refrigeration is needed, thereby allowing the product to be stored at room temperatures for over a year.
    3. Shaefers Fishery pays $0.13 per pound for whole carp caught by skiff operators. That company reportedly buys 30 million pounds a year of carp. High end restaurants pay up to $15.00 per pound for deboned, pan ready fresh Asian carp.
    4. The Asian market wants the entire, whole fish which is how the customer now buys the carp, guts and all. The problem is that enzymes begin to putrefy the fish in about two hours after death. In a very local market where pen-raised carp can be in the markets, on ice within an hour after death, this marketing might make some sense. Shipping a whole frozen fish from the US to Asian does not. CCC has found a way to gut the smaller Silverfin, sanitize it, bag it, then put it through the MWFPT. We can use the guts for enzymatic reduction of algal cells, and/or fish meal.
    5. Thus, pricing and shelf-life are tied very closely together. We solve the shelf life problem by reducing the bulk of the fish so that the microwave food processing tunnel can radiate every cell in the fish part inside a vacuum sealed pouch. This process kills 100% of the living matter, including the DNA, of every cell, 100% of the time. The fish can then be stored at ambient temperatures for probably a year. This approach eliminates nearly all post-purchase waste and allows the retailer or restaurant to better control their inventory. Because of waste reduction, the retailer is willing to pay a higher price.
  2. THE RETAIL MARKET
    1. The majority of CCC's sales will be to retail grocery stores. Shipping and storage become a major cost element. We reduce these costs as follows:
      1. Microwave Food Processing Tunnel (MWFPT). Fish parts are no larger in thickness than about one to one and a half inches. The design of the Microwave Food Processing Tunnel (MWFPT) will address the issue of food safety as a first consideration. Sufficient design knowledge exists to populate the magnetron tubes, the wave guides, the shields, reflective devices, the size and layout of the fish parts in the trays/bags/pouches and the other elements so that we gain total food safety. Source: Membrane Composition as a Factor in Susceptibility of Escherichia coli C29 to Thermal and Non-thermal Microwave Radiation, www.microbiology.ubc.ca/system/files/12-7.pdf
      2. Pouches. Each fish part or group of small parts should be enclosed in a vacuum sealed pouch with required labels to meet FDA requirements. The sealed pouch is then passed through the MWFPT and put in a cardboard case. This case is commonly used by Food 4 Less, ALDI, Price Club and others. It is a “display case” with a part of the top and front side with a perforated tear out so that the contents can be easily grabbed by the customer. The opened case is stacked on the unopened case below.
      3. Pallets. Price club and other “warehouse” stores use heavy steel pallet racks, such that the pallet sitting on the concrete floor is the current retail “display”, and the additional pallets of the same product is stored above on two or three shelves. When the floor pallet is empty, the forklift operator brings down a new pallet, cuts off the plastic wrapping and places the pallet on the concrete floor. and pulls the cut-out out of the cases on the top row. ALDI collects the empty cases and puts them on a customer level long shelf on the wall opposite the end of the check-out counter/cashier. Customers can use these boxes for boxing their purchases. This saves the market from having to have a cardboard baler and spend the staff time to collect the cardboard and bale it. The empty pallets are recycled via the used pallet market. Customers are free to use the “display cases” and/or bring their bags. Cloth bags are generally sold by the stores.
      4. Customer's storage. The customer can store the fish pouches on any kitchen shelf. They do not have to be refrigerated when left sealed in the pouch.
    2. In some grocery stores, there is a bottom shelf where the display cartons are transferred from the pallet onto the shelf. There is a second shelf about four feet high on which other products are held. The store needs to place on the upper shelf and above the fish cartons, all of the possible spices and condiments they have which relate to the preparation of the fish for meals. Here are some examples:
      1. ALDI. www.aldi.us Cajun Cook'n Jambualaya, 27.3 oz. $4.99; Cajun Cook'n Gumbo, 22 oz. $4.99; Healthy Choice, Chicken [Silverfin] Romano Fresca Steamer, 8 oz., $1.79' Kirkwood Spicy Buffalo Chicken [Silverfin] Chunks, 32 oz, $6.99; Kirkwood Honey BBQ Chicken [Silverfin] Chunks, 32 oz., $6.99; Grandessa Signature Top Crusted Flounder [Silverfin], 12.5 oz., $5.99.
      2. On the upper shelf, mixed in or next to the spices and condiments, some good, small paper-backed books of fish recipes should be displayed.
    3. Another possibility is to use the vacuum sealed pouch as a cooking enclosure in a microwave oven, provided the plastic is microwave or heat resistant safe. This allows the moisture in the fish part to remain with the fish part and only a small amount of steam to escape through a vent hole.
    4. The Asian market consider the fish head a delicacy. We can remove the head and put each head in a pouch with labels in both the native language and English. Cases of packaged fish (fillets, steaks, diced, smoked, eviscerated whole fish) can be placed on a pallet and stacked two high in a cargo container and delivered to any major Asian port.
  3. THE WHOLESALE MARKET
The wholesale market could include fresh fish markets, but the majority of wholesale customers are likely to be restaurants for the prime cuts of Silverfin and institutions for the mince Silverfin made into fish sticks, fish cakes, and fish balls. Generally, we will need to produce the fish parts to fill a one or two pound pouch. These pouches could then be consolidated and re-bagged in ten to twenty pound bags with labels.
  1. REFINED PROCESSING
    1. Most of the white meat can be further processed, either as a deboned or bone-in product. As the video by Duane Chapman i demonstrates, an in-bone segment, cut on the diagonal, can produce a nice “stick” of “fish wings” of meat with one to three large, 3” bones inside the piece. These can be baked or fried and the bone easily removed at the kitchen or by the eater. See:
    2. These pieces can also be use for smoking, pickling, dehydration into jerky and similar uses. CCC can package several similar cuts in a pouch, vacuum seal it, pass it through the MWFPT and either sell it to an outside company for futher processing, or ship it to the Eco-campus where it can be further processed and repackaged.
    3. During the filleting operation, each side produces a part which is flat, wide and about an inch thick of meat and many bones. Duane Chapman in his video disguarded this section. Also, there are other cuts which are similar, but smaller. These cuts can be further processed to separate the meat from the bones.
    4. The pieces can be microwaved to fully cook them, thus severing some of the bond between the meat and the bones. Then the cooked fish is placed on a conveyor belt is made of woven stainless steel (“mail”) with a mesh of between one-eighth inch to one quarter inch. The product is passed through a vacuum tunnel, with large rollers at each end which slightly press on the meat at the lower end and run against multiple “squeegee” seals at the top end (to maintain the vacuum). The belt passes over a vacuum table which is in agitation mode. This mode passes the agitation to the SS belt which cause the wires to jiggle the flesh and bones, making the separate more likely. The flesh is sucked through the mail mesh into a hopper below, much like a shop vac. The bones, caught by the SS belt ride out of the vacuum chamber on the SS belt and are dumped into a grinder. The ground bones can be packaged, run through the MWFPT and shipped to chicken farms. This bone meal can be fed to chickens which use the minerals for the egg shells. The chicken's gizzard fully grinds the small bone particles. The “fish meal” is then fully cooked to make any very small bones eatable and the entire product made in to fish sticks, balls, and cakes. These products are vacuum packaged and passed through the MWFPT.
As the SS belt turns on the distal terminal roller and is returning to the proximal roller, a blast of hot steam removes any remaining flesh or bones from the SS belt, which fine particles and steam condensate are collected in a hopper below the belt, then sent to the animal feed fish meal operation. This operation both cleans and sanitizes the SS belt.
    1. The white meat which is free of bones can be sold for use as sushi and sashimi. The low power MWFPT does not “cook” the meat, thus the reluctance of the chefs to its use should be easy to overcome. If the chef insists on taking the sushi or sashimi cuts from the fresh fish, then we would freezing the fish to arrest the effect of enzymes. CCC could deliver the fish already gutted and steam cleaned in vacuum bags and passed through the MWFPT.
    2. At the fish gutting station, the base of the tail is placed on a pin and the fish hung tail up with the head down, which head is attached to a bungee cord. The fish is oriented with the ventral side down and at about a thirty degree angle over a SS table. A utility knife with a hooked cutter is inserted between the lower jaws forward of the gills and a slit made to ward the anus. The skin around the anus is cut leaving the anus intact so that the sphincter muscles keep the anus closed. The entrails are removed from the fish and fall onto the SS table. In female fish, the ovaries, if filled with eggs, are removed into a tub. In males, the gonads are removed. Other organs can be selected for sale to the pharmaceutical industry or for Asian homeopathic use. The gonads would be dehydrated, jerked, ground and put into capsules for Asian “Viagra”. The egg sacks can be expressed using a roller system and the eggs made into caviar. The other organs can be frozen or dehydrated, and shipped after bagging and passing through the MWFPT.
    3. Temporary storage aboard the Carpe Carpae will soon be crowded when we achieve full production of 4000 pounds per hour, 12 hours a day, five days a week, year around. CCC will need to schedule port calls periodically to off-load the pallets of cartons. The Carpe Carpae cannot be disengaged from either sisters ship during fishing operations. It could disengage at the end of the second shift (there would be no third shift in such case) and make a port ahead of the other ships, off-load the cargo and return to the sister ships by the next morning. Our ground crews would meet the Carpe Carpae and take delivery.
  1. THE TOUR
    1. The Tour and Fish Fry. Each Friday, the fleet will make port, tie-up and open the ships to public tours (by advanced reservation). This outreach effort is as much for its marketing value and profit as it is for its educational value. The fleet will arrive with colorful banners and flags displayed, the steam Calliope belting out Dixieland music and our brass band on dockside, welcoming visitors. Guests will be given a walking tour of all three ships, after which they assembly in the cafeteria or salon and watch a video which demonstrates the operation and the environmental values projected by CCC. After the show, the guests are treated to a Friday night fish fry. Prices would be set to cover costs and an equal amount of profit.
    2. VIPs. By prior arrangements, special guests are invited to spend a week or so visiting the CCC operation and staying in the VIP suite on the fourth deck of the Carp Ark. CCC will offer some On-the-job-training to the VIP guests so the get to meet and get to know many of the crew and workers. They can sit in on the meetings of the Partners Council, the Social Council, and join work parties (after suitable instruction).
    3. Commissary. CCC will operate a Commissary which will sell to the guests those items which will identify their tour with CCC, such as baseball caps, “T” shirts, mementos and, of course a variety of Silverfin, packaged for pan-ready use. The Commissary will also display and sell fish cook books, especially those which favor the use of Silverfin.
    4. Education. Since CCC will operate a charter school, kids may want to join in the fun with other kids and learn about Silverfin and watch a movie about how the Silver carp jump. There are several Youtube feature videos which are very entertaining such as the bow and arrow shooting of flying carp and the catching of flying Silver using scoop nets. These classes would be run on Saturday.
    5. Sunday shows. Sunday would see how our workers enjoy the day, by their visiting points of interest favored by the citizens of the port city and by inviting folks to enjoy a square dance or line dance in the cafeteria during the afternoon and evenings. CCC could host talent shows, put on skits and puppet shows. Since the large carp will be in the holding tank during the weekend, guests could view the fish swimming around and may want to take home with them (at $1.00 per pound).
  2. SILVERFIN RESTAURANT AND FISH MARKET
The Silverfin Restaurant and Fish Market is a full service restaurant offering table service, take-out, catering and sales of freshwater and seawater fish, clams, oysters, and other shell fish. The restaurant and market will be on the second deck of the USES SILVERFIN. The foyer entrance will welcome guests with a show of Asian carp and native fish swimming in large aquariums.
    1. Variety of ambiance. In addition to the foyer, there will be four dining rooms inside, plus an outside, river-view deck for use in good weather. Each of the four dining rooms will have a distinctive décor and a menu to match the décor. Candidates are:
      1. French Provincial (sauces, cheese, wine, variety of breads, fresh herbs, lamb, chicken, 1 beef, fish – http://en.wikipedia.org/wiki/French_cuisine; ),
      2. Cajun (Mississippi bayou, catfish, shrimp, crawdads, celery, onions, bellpeppers – http://en.wikipedia.org/wiki/Cajun_cuisine ),
      3. Mex-Tex (Silverfin burritos and fish tacos, crevice, flying saucers, steaks, chilli & beans – products of goat, cattle, fish, chicken - http://en.wikipedia.org/wiki/Tex-Mex ),
      4. Mid-West Barbeque (beef, pork, chicken, fish, seafood, game, sauces, green beans, potatos, salads – http://en.wikipedia.org/wiki/American_cuisine),
      5. Asian (sprouts, water chestnuts, snow peas, sauces, tempura, sashimi, sushi – http://en.wikipedia.org/wiki/Taiwanese_cuisine; Sushi: http://www.gourmet.com/magazine/2000s/2002/10/afishstory?currentPage=1; From chicken and Bourbon to giant clams and flying fish eggs: http://www.gourmet.com/magazine/2000s/2003/10/bluegrass;
      6. Slow Food (Emphasis on flavors and sustainable foods – http://en.wikipedia.org/wiki/Slow_Food ),
      7. Mediterranean (bouillabaisse, calamari, virgin olive oil, seasoned bread, antipasto, products of goats and sheep, pita bread - http://en.wikipedia.org/wiki/Mediterranean_cuisine ),
      8. Northern European (Irish stew, Swedish meatballs, sautéed reindeer with mashed potatoes, lingonberry and gherkin – http://en.wikipedia.org/wiki/European_cuisine#Northern_European_cuisines ).
      9. Truck Stop (1950's Diner, Route 66, “future-retro”, ala Sonic – order through to squawk-box at your table have your meal served by a roller-skater-- http://en.wikipedia.org/wiki/Sonic_Drive-In#1950s ) , and
      10. East Indian (spices, tambouri, clay oven cooking, rice and fresh vegetables - http://en.wikipedia.org/wiki/Indian_cooking ).
    2. Hauteur cuisine. Each of the dining room will offer hauteur cuisine from the specialty menus, plus distinctive “Chef's Specials” – the meal is announced only at the time of service. Vegetarian/vegan guests can state their desires ahead of time.
    3. View. The view from each dining rooms will be of the river and the traffic on the river.
    4. Dockage. The vehicle/pedestrian ramps of the USES SILVERFIN will be so constructed such that boats using the river may moor during their meals at the restaurant and enjoy the shows.
    5. Parking. Vehicular parking would be on land adjacent to the pier at which the ship is moored. Also, a bicyclist could park his or her bike onboard the ship.
    6. Catering and take-home. The Silverfin will offer catering, ship chandlering, and take-home meals.
    7. Wines. The Silverfin Restaurant and Fish Market will offer a wide selection of fine French and domestic wines by the glass or bottle. The Fish Market will also stock wine by the bottle for off-premises consumption.
    8. Locavore. The menu and food selection will be especially designed to use locally produced foods and wines to the greatest extent reasonable. National and Missouri holidays will be festive with added menu selections and some entertainment. A small stage and dance floor will be added to the larger of the four dining rooms for the occasions.
    9. Cellar. The Fish Market will have a walk-in, climate controlled “Wine Cellar” where a patron can choose the wine.
    10. Kitchen waste. All biodegradable waste will be recycled into compost or fish meal and any excess eatable food will be given to local food charities, prisons or jails.
  1. Market research and marketing plan.
The marketing research and plan is a matter of great concern for the success of Carp Catcher Cooperative. While some market research has been performed, an in-depth study will be conducted by two senior students enrolled at University of Montana, Missoula, MT, and supervised by Dr. Jakki Mohr, Professor, College of Business, University of Montana. ii Dr. Mohr, two students and Jim Miller have previously collaborated in connection with a marketing study of algae for food and fuel. Asian carp is widely used as common source of fish protein in Asia. CCC anticipates exporting about one-third of its net yield to Asia, especially China, Taiwan, and Japan. Because of the Asian carp invasion, the culinary industry has taken notice and begun to popularize the use of Asian carp as entrees in fine restaurants. Here are some notable quotes:
    1. CBS
The Asian carp is regularly called ugly and vile, and its threat to the Great Lakes has created a political battle pitting Illinois against neighboring states. But one local chef has a solution to the Asian carp crisis. Chef Phillip Foss of the Lockwood Restaurant at the Palmer House Hilton says instead of trying to poison or electrocute the fish in the water, why not make some fish filet sandwiches and fish sticks, ceviche, and eat them? 'People are loving it,' Foss said. 'We're getting very good raves on it. It's a very clean-tasting fish.'” http://wcbstv.com/watercooler/asian.carp.cooked.2.1666367.html
    1. Huffpost: Is Asian Carp the next Sustainable Fish? http://www.slashfood.com/2010/05/26/is-asian-carp-the-next-sustainable-fish/
    2. Reader: The Culinary Solution: Figuring if you can't beat 'em, eat 'em, a local fishmonger surprises ten hotshot chefs with a delivery of Asian carp. Source: http://www.chicagoreader.com/chicago/asian-carp-cooking-chicago-chefs/Content?oid=1571974
    3. Duane Chapman of the U.S.G.S. shows you in three videos clips how to prepare a Silverfin:
Part I: http://www.youtube.com/watch?v=T1NVUV8yhmU&NR=1 Part II: http://www.youtube.com/watch?v=CB-fmA07gZ8&feature=related http://www.youtube.com/watch?v=RhGkjwxm_0o&feature=related Part III: http://www.youtube.com/watch?v=RhGkjwxm_0o&feature=related


  1. LOUISIANA DEPARTMENT OF WILDLIFE AND FISHERIES
"If we can find a way to get it into these outlets, it's an ultra-sustainable product," he said. "Not only are you eating a wild product, but you're also doing something that's saving the environment by eating it." "After sampling the fish for its taste appeal and meeting with Chef Philippe, both The Louisiana Department of Wildlife and Fisheries (LDWF) and the chef decided to change the name from silver and bighead carp to the more appetizing Silverfin," said LDWF Inland Fisheries Administrator Gary Tilyou. "The biggest obstacle to market this fish was getting past the negative connotation that the word carp brings. Once people taste the fish for themselves they will soon realize that Silverfin belongs on the table. On top of tasting good, Silverfin are also rich in Omega 3." www.wlf.louisiana.gov/silverfin
    1. The Challenge of Turning Asian Carp from Menace into Spectacular & Unique Haute Cuisine
"If it's good enough to ship 30 million pounds to China then it's good if the United States of America can come up with some creative ways to use it as well", says Heaven City's chef Jimmy Wade in a radio interview on WGN in Chicago" "As reported by JS Online, the Chinese were excited as "the high quality and taste of the wild Asian carp far exceeds" their expectations. They see a tremendous market for the wild US Asian carp, seen as a delicacy in China.” Source: http://www.heavencity.com/news.html
    1. Louisiana
"We will never be able to fully eradicate these fish, so we are trying to make the best out of what these fish have to offer," said Tilyou. "By creating a demand for the meat, we hope to create a commercial and recreational freshwater fishing industry for silver and bighead carp." For more details about the Silverfin promotion, visit www.wlf.louisiana.gov/silverfin

  1. THE USES SILVERFIN

Other: Optional 3D glasses (TDG-BR100, $150/pair) and IR synch emitter (TMR-BR100, $50) required for 3D viewing; Optional USB Wi-Fi dongle (UWA-BR100, $80)

Read more:
http://reviews.cnet.com/flat-panel-tvs/sony-bravia-xbr-52hx909/4505-6482_7-33943224.html#ixzz1VcRtc6Jw Other: Optional 3D glasses (TDG-BR100, $150/pair) and IR synch emitter (TMR-BR100, $50) required for 3D viewing; Optional USB Wi-Fi dongle (UWA-BR100, $80)

Read more:
http://reviews.cnet.com/flat-panel-tvs/sony-bravia-xbr-52hx909/4505-6482_7-33943224.html#ixzz1VcRtc6Jw Other: Optional 3D glasses (TDG-BR100, $150/pair) and IR synch emitter (TMR-BR100, $50) required for 3D viewing; Optional USB Wi-Fi dongle (UWA-BR100, $80)

Read more:
http://reviews.cnet.com/flat-panel-tvs/sony-bravia-xbr-52hx909/4505-6482_7-33943224.html#ixzz1VcRtc6Jw Optional 3D glasses (TDG-BR100, $150/pair) and IR synch emitter (TMR-BR100, $50) required for 3D viewing; Optional USB Wi-Fi dongle (UWA-BR100, $80)

Read more:
http://reviews.cnet.com/flat-panel-tvs/sony-bravia-xbr-52hx909/4505-6482_7-33943224.html#ixzz1VcSJakom USES SILVERFIN Confidential – Controlled document-
  • The United States Electric Ship Silverfin, a cruise ship extraordinaire
  • By Jim Miller
  • August 20, 2011

  1. OVERVIEW
This USES Silverfin study combines the objectives of the prior studies of the Silverfin Restaurant and Fish Market, the Ste. Genevieve car ferry-cruise ship, and the local marketing and distribution of fish products. The potent force of this merger of ideas is that as a auto-restaurant-cruise-cargo ship it will have the ability to transport passengers and their cars within the major Mississippi River National Waters. It will have as a central feature, a five star restaurant. The restaurant can thus extend its cuisine along the river banks to many communities and thus expand its “service” area and customer base, thus insuring a continuing market for use of Silverfin fish meat. By detaching the restaurant from a land base, its long-term sustainability is greatly enhanced as it journeys the inland waterways. It is not held sway to “local politics” or local suppliers or local customers, it can forge new relationship by visiting a new community, while maintaining older relationships by repeated visits to the sustainable ports-of-call. The ability to “tour” will greatly enhance the appeal of the talent shows, dance competitions, swing bands and conferences. More on these themes later in this article. This entertainment competence is necessary to attract media attention and bring new customers to the delights of Silverfin entrées. Lastly, and probably more critical, is the ability to support two land-based marketing and distribution teams in support of the local markets simultaneously along both sides of the inland “seas” of America. Once established, these “routes” can be sub-contracted to many local family enterprises. The Silverfin's operation will enable it to pick the locations (ports-of-call and surrounding market for fish products) most favorable to the economic success of Carp Catchers Cooperative.
  1. SHIP SPECIFICATIONS
A new vehicular, cargo, food, entertainment and passenger ferry will be built by Carp Catchers Cooperative in its shipyard after the first fleet is completed. The name will be United States Electric Ship (USES) SILVERFIN. The style will be an old fashioned river boat. Power and steerage will be provided by the azimuth propulsion pods. There will be four decks. Its model is the Carp Ark. The draft would be about one meter and the free board about 1.5 meters. The ship will be 15 meters abeam by 54 meters long. The first deck will house the vehicles and have a vertical clearance of about 4 meters. The second deck will house the Silverfin Restaurant and Market and third deck will be all cabins. The fourth deck will be for the VIP suite, Captain's and crew's quarters, additional passenger cabins, pilot houses (one at each end), radio room, restrooms, salon, snack bar, and an enclosed observation area. All decks will be served by an elevator and stairs. First Deck Each of two traffic lanes on the first deck will be about 3.6 meters wide. Vehicles will enter and leave singly over fore and aft ramps, six meters wide. Each ramp will reverse (under) fold perpendicularly to its length, across the middle and be deployed by cables and masts on both sides. Passenger aisles on each side of the ramps will be separated from the vehicle aisles. The double hinged ramp will allow the ramp to more easily meet the differential between the level of the first deck which is governed by the water level of the river, and a higher, fixed dock to which the vehicles and passengers will be moved. The beam will be 15 meters, allowing for 30 cm thick vertical side walls and 120 cm for storage areas and stairs on each side, for a net width for floor space of 11 meters wide. The storage areas will house the wheeled carts on which the tables and chairs will be stacked and any other gear needed for the meals, talent shows, dances and conventions. Storage areas will also be made available for bicycles. Each end of this space, one story high will have cargo doors. The doors are split evenly, thus each cargo door half will be about 5.7 meters wide. When opened, these will swing toward the bow across the prow at about right angles to their closed position. This opening is sufficient to allow passage of passenger cars and light trucks. When closed, they will be storm-proof. A wing wall on each corner will provide bracing and a jam. Second Deck The second deck will house the Silverfin Restaurant and Market. A portion of the second deck will be employed as the loft above the stage and back-stage service area and patron seating. It will also house the balcony and the control platform.
  1. Overview
The Silverfin Restaurant and Fish Market is a full service restaurant offering table service, take-out, catering and sales of freshwater and seawater fish, clams, oysters, and other shell fish. The restaurant will be built on the second deck of the USES SILVERFIN. The foyer entrance will welcome guests with a show of Asian carp and native fish swimming in large aquariums.
    1. In addition to the foyer, there will be four dining rooms plus and outside, river-view deck for use in good weather. Each of the four dining rooms will have a distinctive décor and a menu to match the décor. Candidates are:
      1. French Provincial (sauces, cheese, wine, variety of breads, fresh herbs, lamb, chicken, 1 beef, fish – http://en.wikipedia.org/wiki/French_cuisine; ),
      2. Cajun (Mississippi bayou, catfish, shrimp, crawdads, celery, onions, bellpeppers – http://en.wikipedia.org/wiki/Cajun_cuisine ),
      3. Mex-Tex (Silverfin burritos and tacos, crevice, flying saucers, steaks, chilli & beans – products of goat, cattle, fish, chicken - http://en.wikipedia.org/wiki/Tex-Mex ),
      4. Mid-West Barbeque (beef, pork, chicken, fish, seafood, game, sauces, green beans, potatoes, salads – http://en.wikipedia.org/wiki/American_cuisine),
      5. Asian (sprouts, water chestnuts, snow peas, sauces, tempura, sashimi, sushi – http://en.wikipedia.org/wiki/Taiwanese_cuisine; Sushi: http://www.gourmet.com/magazine/2000s/2002/10/afishstory?currentPage=1; From chicken and Bourbon to giant clams and flying fish eggs: http://www.gourmet.com/magazine/2000s/2003/10/bluegrass;
      6. Slow Food (Emphasis on flavors and sustainable foods – http://en.wikipedia.org/wiki/Slow_Food ),
      7. Mediterranean (bouillabaisse, calamari, virgin olive oil, seasoned bread, antipasto, products of goats and sheep, pita bread - http://en.wikipedia.org/wiki/Mediterranean_cuisine ),
      8. Northern European (Irish stew, Swedish meatballs, sautéed reindeer with mashed potatoes, lingonberry and gherkin – http://en.wikipedia.org/wiki/European_cuisine#Northern_European_cuisines ).
      9. Truck Stop (1950's Diner, Route 66, “future-retro”, ala Sonic – order through to squawk-box at your table have your meal served by a roller-skater-- http://en.wikipedia.org/wiki/Sonic_Drive-In#1950s ) , and
      10. East Indian (spices, tambouri, clay oven cooking, rice and fresh vegetables - http://en.wikipedia.org/wiki/Indian_cooking ).
    2. View. The view from the Top Deck and a couple of the first deck dining rooms will be of the river and the traffic on the river.
    3. Dockage. A small dockage will be built so that boats using the river may moor to the Silverfin during their meals at the restaurant and the shows.
    4. Catering and take-home. The Silverfin will offer catering, ship chandlering, and take-home meals.
    5. Wines. The Silverfin will offer a wide selection of fine French and domestic wines. The Fish Market will also stock wine by the bottle for off-premises consumption.
    6. Locavore. The menu and food selection will be especially designed to use locally produced foods and wines to the greatest extent reasonable. National and Missouri holidays will be festive with added menu selections and some entertainment. A small stage and dance floor will be added to the dining room for the occasions.
  1. Market research and marketing plan.
The marketing research and plan is a matter of great concern for the success of Carp Catcher Cooperative (dba Silverfin Fishery). The preliminary draft of the marketing plan may be viewed at: http://carpcatchersco-op.wetpaint.com/page/SILVERFIN+MARKETING+COLLABORATIVE Asian carp is widely used as common source of fish protein in Asia. CCC anticipates exporting about one-third of its net yield to Asia, especially China, Taiwan, and Japan. Because of the Asian carp invasion, the culinary industry has taken notice and begun to popularize the use of Asian carp as entrees in fine restaurants. Here are some notable quotes:
    1. CBS
The Asian carp is regularly called ugly and vile, and its threat to the Great Lakes has created a political battle pitting Illinois against neighboring states. But one local chef has a solution to the Asian carp crisis. Chef Phillip Foss of the Lockwood Restaurant at the Palmer House Hilton says instead of trying to poison or electrocute the fish in the water, why not make some fish filet sandwiches and fish sticks, ceviche, and eat them? 'People are loving it,' Foss said. 'We're getting very good raves on it. It's a very clean-tasting fish.' “ http://wcbstv.com/watercooler/asian.carp.cooked.2.1666367.html

Third Deck The third deck will be the length and width of the ship's superstructure, and will house the cabins, with enclosed observation rooms and open decks at each end. On the outside, open air decks, lounge chairs will be set so folks can sit, eat and drink or nap. Inside spaces of the observation room will have tables and benches. In the center of the ship, running length-wise, will be a passenger aisle with a large overhead area above the aisle for utility runs. Cabin doors access this aisle. Fourth Deck The fourth deck will have a pilot house at each end. One end will house the radio shack and galley and at the other end, the captain’s, crew quarters, and lounge. At the aft end an observation deck will be shaded with a fixed roof. On the roof of the fourth deck will be deployed concentrated solar parabolic linear troughs. On the both sides of the ship will be placed panels of photovoltaic electrical generators. More about the energy needed for the ship, below. Cabins The cabins will be built on the same jigs as the cabins for the Carp Ark, roughly 5 meters by 5 meters (16' x 16'), two rows, port, one starboard, with access to internal central aisle between them. The VIP suite is basically two of these units, equipped with a hot tub and a kitchenette. The talent show “headliner” will be housed in the this setting. Changing room cabins will be on the second deck near the stage. Elevation This is the Admiral, a casino cruise ship which gives the reader a very rough idea of how the Silverfin will appear (sans wrinkles in the steel skin) but with four rather than five decks. A ramp will be installed at the bow and the stern. The style will be old fashioned river boat.
  1. TALENT SHOW
The Silverfin will host a talent show each weekend as we make a new port-of- call. The Silverfin will move with the fishery fleet, but stay ahead by two to seven days or so. Each weekend the Carp Ark will dock next to the Silverfin. We plan to build the first fleet of three ships, then the Silverfin. See Carp Catchers Cooperative, http://carpcatchersco-op.wetpaint.com
    1. Schedule and operation. At each port, the show and other activities will run from Friday night to late Sunday evening.
      1. Advance. We will have an advance team which will publish the schedule for each stop and send out email and mail flyers for each stop to local radio, TV, print newspapers and civic and entertainment blog sites relevant to each stop. The coverage will start about eight weeks before the show to give talent (individuals and groups) the time to prepare and make tapes, CDs or DVDs of their proposed performances. This team will be headed by a public relations manager. This team will use hybrid cars and vans for transportation and stay in local motels until the Silverfin arrives.
      2. Arrival at port. The arrival of the Silverfin at port-side will be met by a band furnished by the local high school, college, or civic group. The music would theirs to select, but with emphasis on Dixie Brass, Jazz, Folk, Bluegrass, Country, and any other lively music. The band will be invited for dinner, given an opportunity to perform after dinner and handed DVD videos of their performances. They will also be honored and given free passes to watch the Saturday evening talent show.
      3. Production team. The production team will have stage set and costume designers and fabricators, lighting and videography persons, musicians, script writers, production managers and co-directors. The public relations advance team manager is also part of this team and will arrange for interview with selected talent and their families – borrowing from America’s Got Talent and Britain’s Got Talent.
      4. Name of each show. We may not be able to use the name of the town followed by “Got Talent” because of possible copyright restrictions, so we can simply use, as an example: Ste. Genevieve Has Talent. The performance will be in the Silverfin Theater.
      5. Friday dinner. The Silverfin Restaurant will offer a traditional “fish fry” dinner on Friday night. Alternate fare will be available.
      6. Friday night show. The Friday night show will consist of the acts which were previously performed by the winners of the talent shows at other venues. These folks will be given passage, their own cabins, and a video DVD album, combining their performances at their different venues. Their performances will be paid. The DVD's will be scripted to show the abilities of the talent and the family, friends and professionals who are/were involved in their training. Kids, who like to joke around during rehearsals, will be especially favored.
When the fleet arrives at dockside, it too, will be greeted with the local band. The Silverfin Restaurant will serve great meals. When we visit a major city, the cafeteria aboard the Carp Ark will expand the kitchen, service, dining space and guest seating for the performances.
      1. Performance space. The Silverfin will have as the performance and guest space the main deck – wall-to-wall a space which previously accommodated vehicles. All cars will have been moved off the deck onto land and the heavy, oil and water-proof canvas runners will be rolled up (under-car protection of the floor). The stage, located at one end of the ship, will be designed as a full studio performance theater. Plasma video monitors are hung from the port and starboard sides at the ceiling level along with surround sound.
At the backstage end, a two story loft will allow for backdrops to be raised and lowered and stored. At each end of the ship, as to the main deck, large doors will close, allowing for the performance space to be heated and cooled as needed, and to protected from rain, wind, snow and light. The stage will be a full sound stage with acoustical buffers which can be dropped-down or positioned as needed, along with acoustical, fire retardant treated wall carpet on all reflecting walls and ceiling. The entire performances will be video recorded. Live performances will be sent via WiFi to all of the ships and all of the living spaces within the ships for display on large screen monitors. We will also have the capability of using microelectronics to beam the events to local theaters, churches and other venues which have enabled wireless transceiver Internet access and local displays of the podcast.
      1. Interaction. During the “slack time”, the guests will be given tours of the Carp Catchers fleet and shown a video of the harvesting and processing of the Silverfin fish. Our crew members will conduct the tours and provide a high level of interaction with the guests. Recipe books favoring sales of Silverfin packaged meats, will be available for sale. The Silverfin Restaurant and Fish Market will be open for business during the entire weekend. Cabins aboard the Silverfin flotel will be available for rent so as to attract guests from more distant places.
      2. Saturday morning. The advance team will have screened the candidates ahead of Saturday morning and try-outs will be conducted Saturday morning through late afternoon, as needed. About ten of the best performances will be chosen and trailers will have been made for local media, based on the media previously submitted media materials and added to by takes during rehearsals. Dress rehearsals will take place about three hours before dinner is served at six o'clock.
      3. Saturday dinner. The performers and their families and immediate major supporters will be given passes to the Silverfin Restaurant. The guests will be invited to dine with the “stars” at round, 6 and 8 person tables. This gives the “stars” the opportunity to be seen and give their pitches for their favorite charities. We will spread the stars out among all of the tables.
      4. Saturday night. The main talent show performances will take place Saturday night, including the local band as a lead-off. Local award winners (sports, academic, artistic, etc.) will be introduced and allowed to give a short pitch for their favorite local charity. Each of the performers will be given about 15 minutes for introductions, performance and commentary by the three judges. There will be no intermission as such but guests are free to return to the restaurant for snacks or from the “deli” or concession tables, and then return to their seats. Performances will be shown on large screen plasma monitors in all of the public seating areas, including the cafeteria aboard the Carp Ark.
      5. Saturday night finalists. The three finalists chosen by the judges will then repeat their performances. Voting will take place after all performances are completed. We'll use cell phone-call-in as is the case with the “..... Got Talent” shows. Assuming the show will be broadcast over local or networked TV, the audience voting would include this listener wider potential customer base.
The winner will then be announced and a selection of awards offered: A scholarship voucher; a new plug-in electric mini-car; in the case of a band, a voucher for gear; or donations to the winner's favorite charity(ies). The prize value should be between $1,000 and $5,000 depending on the “purse”. Performances, judging and awards will begin about 7:00 pm and end about 10:00 p.m. In addition, the finalists will be invited to “tour” with Silverfin to at least the next port-of-call or longer if such can be arranged. Each of the three finalists will be given a DVD album of their performances. Quarterly, a DVD album of all of the winners for that quarter will be published with half of the gross proceeds of sale going to the winners (split evenly among them) and the other half used to cover costs of the talent shows. These DVD's will carry ads for consumption of Silverfin meats, for the Silverfin Theater, and the Silverfin cruises. Each winner will be offered the services of Jim Miller as a Talent Agent (on commission) to advance the winner's performance career (is so decided). All commissions will be paid to Carp Catchers Cooperative.
      1. Sunday morning. We will invite local church and civic choirs and accompanying musicians to perform in a group session, singing gospel songs and playing modern gospel folk music. No sermons but we will have some background introductions and commentary on the music. The offering will be taken and given (100%) to a local charity (food bank; homeless shelter; early childhood care and education; shelters for abused women and children; addiction screening, prevention and recovery free clinics; etc.). The performances will begin at about 8:30 am and run to about 11:30 a.m. See a really good example: The Omagh Community Youth Choir - Love Rescue Me; http://www.youtube.com/watch?v=z1ohx398P7I
        Listen with your heart. Sharing this kind of music is like sharing within a community.
      2. Sunday meals. Sunday brunch will be served from about 6:30 am to about 4:30 pm. The Sunday dinner will start about 5:00 pm and run to about 9:30 pm. We will invite local folks from all strata of society, including disabled, homeless, rich man, poor man, unemployed, beggar man, jail inmate (and his/her guard) and parolee (and his/her parole agent). The folks unable to pay or on reduced income will receive free meal passes. Donations will be taken and 100% passed on to a local charity chosen by acclimation of the dinner guests.
When finished with their meal, the guest may take a seat on the inside observation decks, the fourth deck salon or walk to the Carp Ark and enjoy the show by taking seat in the cafeteria or the fourth deck salon or observation deck. They can watch a re-broadcast of the entire weekend talent show, beginning with the band greeting the arrival of the fleet, to and including the Sunday morning gospel show. Honored guests and supporters will be allowed to “stay-over” in one of the cabins of the Silverfin or in the VIP suite of the Carp Ark. We will sail about 8:00 a.m Monday for the next port-of-call.
      1. “TAKE US ALONG” drawing. Guest who pay for the dinner and theater for Saturday night will have the opportunity to win a week's free passage on the Silverfin or the Carp Ark, from the current to the next port-of-call. Each guest simply writes his/her name and contact information on the back of their ticket and a drawing will be held during the Saturday dinner. Three winners will thus be chosen. Each winner may travel in leisure or they may work full or part-time with a crew member and receive $10.00 per hour pay.
      2. Charters. The Silverfin will be available for charter voyages, especially during the winter months, when northern-based folks will wish to visit the South on holiday. As a cruse ship, it will have planned stops along the route to allow guests to visit towns of their choices, such as historic Ste. Genevieve, which features many French historic buildings. The first deck will carry the guests' cars and bicycles for local travel.
      3. Policies. All crew members and guest will know about the policies prohibiting tobacco an illegal drug products onboard any ship and the advisory about excessive consumption of alcoholic drinks.
      4. Pricing. The fish fry will be at regular menu prices for a buffet, probably under $15.00 for the meal and under $10.00 for the show. The Saturday rehearsals are free to attend as are the tours of the ships. Saturday dinner and show will be under $100.00. Discounts will be given to Silverfin Club members, children, veterans and seniors. “Foodships” or meal and show passes will also be given to the unemployed, homeless, underemployed, disabled, prisoners and parolees and their accompanying person. Donation requests to named local charities will also be on the menu and requested by the cashier. The donation will be accomplished by buying a pre-paid gift card (any amount can be applied to the card) which card is then delivered to the named charity. The Gift Card will be issued by the Silverfin Credit Union.
The “family style dinner” lends itself to a one-price, pay-in-advance, buffet style meal. We may have the buffet available for seconds and thirds, especially if we use Silverfin as the main meat choice.
      1. Conferences. The Silverfin will be able to host conferences during most of the week when not in travel mode. Conferences can proceed as soon as the cars are off the deck of the performance/guest space. Occasionally, the conferences could continue while the ship is in travel status. The displaced car owners (made up of the advance team and the production team and/or guests) would drive to the next port-of-call, thus allowing cabins to be rented during the traveling conference.
      2. Follow-up. The production team will be tasked with editing the raw video recordings into suitable format and artistic presentation and “burned” on to DVDs. The advance team will accomplish follow-up work in getting the DVD's promoted locally and nationally. We will have compilations from the various shows according to theme – Bluegrass, Hillbilly, New Orleans Blues, Country, Western, Old-time Folk, Gospel Folk, etc. The advance team can then target the radio and TV stations which cater to those themes.
      3. Financial supporters. Occasionally, we will be able to attract major financial support for the talent show by means of Internet ads on our website and weekly print programs. The advance team will be charge with this task so that the programs will be available each Friday night both in print and online. We may be able to find local talent for the advance and production teams, bring them into the production process as interns or fully engaged professionals on fee. The objective is to help integrated the talent show workers with local talent workers and to help with recruiting when needed.
      4. Going National At some point, our inventory of talent under contract to the Silverfin Talent Agency will be sufficient to spawn a new business enterprise, including a DVD e-label (Silverfin Shows), downloads of MPG4, and podcasts of teasers via our own website. Our message will, of course, include a pitch for consumers to buy Silverfin fish meat for meals from some of our many recipes from the Silverfin Recipes e-book, published by Intelligent e-Publications, L3C LLC, or available in single downloads per hour per computer IP.
      5. Going International. Our web page will have the translation ability now becoming common with EU websites and sometimes available as a hit in Google Search. We will seek-out local talent which performs in languages other than English. Here's a good example: JACKIE EVANCO, a finalist in the 2010 America's Got Talent, http://www.youtube.com/watch?v=JH8Z2c9uyCE&feature=related
    1. The Stage
      1. The base structure of the stage floor.
The stage is almost as wide as the inside of the exterior walls of the ship at the stage end. The ship is 15 meters of beam but narrows down along the prow. At the a point 9 meters from the bow, the ship's sides begins to angle to the bow which is about six meters wide. At the “hinge point”, the beam will be 15 meters, allowing for 30 cm side walls and 120 cm for storage areas, the net width for floor space is 11 meters. Inward of the forward bow opening and cargo doors, a cavity space on the first deck is reserved for back-stage movement of a small, walk-behind forklift. This space is about 3 meters. The next space starts the stage floor, and is reserved for the backdrops. This space is about 6 meters deep. The forepart of the stage is about 12 meters deep. The height from the first deck above the stage and the loading area is 7 meters. The height of the stage will be about 50 centimeters. The floor is supported by a grid of 5 cm x 41 cm wood girders (“TJI”) which form an array. The TJIs will be spaced @ 24” O.C. Next 2 cm x 15 cm thick sleepers will be installed at right angles over the TJIs. The sleepers will be spaced 24” O.C. Next T & G CDX 3/4” x 4' x 8' will be installed over the sleepers. Locust ledger boards will complete the fore and aft vertical edges of the stage. A railing will be installed along the back of the stage, which can be temporarily removed when needed for forklift access. Stairs from the top of the stage floor to the first deck will be 1.2 meters wide and along the wall at the four corners of the stage, with hand rails on the inboard side.
      1. Stage gear and small props
Stage gear and small props will be stored in cabinets along the wall in the back-drop area and in the first deck forklift area. We will need a place for a grand piano which can be stored in a piano car on the long side of the piano and the legs removed for storage. The stage is in built in four sections. On each side from the side wall toward the center, each fixed section will be the stage “wings” and will be the length of the stage and about 2 meters wide. At the inboard edge of the fixed section, where it meets the moveable section is a hinge point. The inboard, moveable one-half section will be hinged so that it can be folded up and to the outside wall over the fixed section and secured. By folding the hinged portion of the stage, space is provided for the vehicular use. This design will give the stage floor some give and allow low notes to sound as a timphony.
      1. The semi-spring stage floor.
        1. Standards: http://tsp.plasa.org/tsp/about/index.htmlDance: ANSI E1.26 - 2006 - Recommended Testing Methods and Values for Shock Absorption of Floors Used in Live Performance Venues
        2. About Dance Injuries: by Luke Hopper; Various floors used by professional dancers in the UK have been tested and it was found that many of the floors did not meet the standards that apply to basketball and volleyball courts. In fact, some of the floors were almost as hard as concrete! It was only the floors that were specifically made for dance that complied to the standards for hardness. Therefore requiring dancers to perform on floors that are not dance specific may present with an unnecessary injury risk. http://www.harlequinfloors.com/uk/dance-area/about-dance-injuries.html
        3. Harlequin floors. Harlequin Activity Sprung Floor System. Activity - a permanently installed sprung floor system based on a revolutionary triple 'sandwich' composite construction. Activity completely eliminates the need for metal springs and rubber pads and because it is a fully floating system with no fixings to the floor it can be laid on almost any surface without preparation. Shock-damped to avoid a 'trampoline' effect and combining area and point elasticity to offer identical characteristics across the whole floor, Activity is ideal for ballet, reducing injury risk and enhancing dancers' performances.
        4. http://www.danceusa.org/dancerhealth
        5. Some Effects of Dancing on Poor Dance Flooring:
          Shin splints
          Stress fractures
          Inflamed ligaments and joints
          Joint damage to ankles, knees, and hips
          Damage to the spinal vertebrae
          Premature wear of cartilage
          Damage to muscles
          Achilles tendonitis
A semi-traditional floor would have wood battens laid on pads made of neoprene, which is more durable than rubber. Pads are typically laid 40cm-50cm apart and are 1cm-2.5cm thick. Then more wood battens are put on top at right angles, halfway between the pads. A traditional floor might have three layers of this springing. Then two layers of plywood are placed on top, offset by 45-90 degrees so that the joints don't match up. The plywood spreads the load. Finally, the actual surface is made from a layer of strong, durable wood like oak, beech or maple, or other types of wood that are covered with a vinyl surface. There may also be provision to prevent the floor from depressing too much if a very heavy weight is placed on it. There should normally be a fairly wide gap between the floor and the wall to allow for expansion and to allow air to circulate. This is often covered by a skirting board or molding, to make the gap less apparent. It is because the floor is free-standing rather than connected to walls or joists that it is also referred to as a floating floor. The performance surface is normally of vinyl or hardwood, engineered wood or laminate. For dance the surface may be replaceable, so that a theater can adapt easily to either ballet or tap dance.
        1. Dance Deck SignaFlex, roll-out permanent floor covering:
http://www.dancedeck.com/ “Superior Alternative to Costly Wood Floors

SignaFlex™, Signature's padded roll-out vinyl dance floor is ideal for permanent installations such as dance studios, home studios and performance spaces, and is designed to provide superb protection and comfort for dancers against hard sub-floors.

SignaFlex is a superior alternative to costly and difficult-to-maintain wood dance floors – more cost-effective and offering superior cushioning, slip-resistance, shock absorption and sound reduction. SignaFlex is also simple to install and maintain and can also be used as a portable floor for touring. Vinyl Flooring That Looks Like Wood but Without the Cost SignaFlex offers a wide selection of choices for your dance studio floor - 18 different faux wood dance floor finishes and dance floor colors – to complement nearly any dance studio, décor, or theme. Choose from 8 different faux wood dance floor finishes that offer the look of real wood but without the cost or maintenance. In addition, SignaFlex dance floor's matte finish avoids unwanted reflections even under the harshest dance floor stage lighting. SignaFlex is a permanent dance floor that rolls out flat and stays flat. Sections are welded together to create a seamless permanent dance floor that will not buckle, separate or tear - even during the most rigorous and repeated rehearsal use. SignaFlex is a practical and economical alternative to hardwood dance floors – without sacrificing the look and feel of a traditional wood dance floor for your studio space.” http://www.dancedeck.com/permanent-dance-floors.asp VENDOR RESPONSE: 4.5mm Signaflex. $3.80 a sq. ft. 6.5mm Signaflex - $3.85 per roll 8.0 Signaflex - $5.58 a sq. ft. If you have any other questions, please let me know.
Thank you!
Douglas Bax Sales Representative Signature Sports Flooring 50 East 42nd St. 14th Floor New York, NY 10017 800-705-1544 ext 310 212-518-1269 direct 212-953-1117 fax www.signaturesportsflooring.com dbax@signaturesportsflooring.com ------------------------------------------------\
playsites + surfaces
908-B Long Island Avenue
Deer Park, NY 11729
(631) 392-0960 phone
(631) 392-0959 fax
sales@playsitesplus.com
4.5mm x 5’11” x 65’6”
6.5mm x 5’11” x 49’’
8.0mm x 5’11” x 36’


Playcon - The Recreation Company - Squash and Racquetball Courts System


Toll Free: 1-800-235-6071
Email:
ask@playcon.com Please quote prices per roll and per sq. foot for about 8,000 sq. ft of Signaflex flooring for all thicknesses. How many sq. ft per roll.
    1. Dressing rooms.
Four dressing rooms will be cabins (16' x 16') with a central hall way between the two sets. Two of the cabins will be reserved for headliners and the other two will be men's and women's dressing rooms. Superstars will be house in the VIP suite on the fourth deck.
    1. The Loft.
      1. The hallway will start in the restaurant area near the elevator and proceeding along one side of the restaurant, past the kitchen and to a cross-hall which is connected to the center hallway just behind the kitchen. This hallway doubles as access to the kitchen. At the port and starboard ends of this cross-hallway will be the head of the stairs leading to the stage wings. The central hallway “T-bones” into a second cross aisle at the backdrop loft. A solid parapet wall protects users. Catwalks extend from this cross-aisle in the aft direction. The catwalks will allow the lighting crew to install the “upper” lighting on trusses and maintain them.
      2. The “upper lighting trusses” will allow stage fixtures and equipment to be mounted right and left of the catwalks on the bottom rails.
      3. Lower lighting trusses. We will likely need lower lighting trusses, the bottoms of which is about 5 meters from the stage floor and could not ordinarily be reached from the catwalks. We will need a one-person lift which can be moved around the stage floor on wheels. A Genie GRC-12 would do the job: http://www.genieindustries.com/grc12/default.asp; http://www.youtube.com/watch?v=nUaBPoXPViU We may need to run it on 3/4” x 4 x 8 sheets of CDX to protect the dance floor.
      4. Trolly track and remote camera. A trolley track will be hung from the ceiling of the loft above the main state. The track will be a 30' circle so that the trolley, the boom and the camera head may be configured to hold a stereoscopic digital video camcorder. This camera head, in the form of a steady-cam, will be able to record a view from any position on the main stage and at varying heights and angles. The remote system will be operated manually from the control booth.
    2. Traveling spotlight. We will need two platforms at the rear corners of the guest seating area which is about 11 meters wide and 66 meters long. The platforms will occupy an area about 2 m x 2 m on a raised platform. A third traveling spotlight will be mounted on a tripod located in the center-rear-upper level of the control platform at the second deck level. Line-of-sight should allow the spot to resolve at the fore-stage. The control booth can be “tucked” below and fore of the traveling spotlight platform, well out of the line-of-sight.
    3. Video LCD or plasma monitors. Flat-Panel TV & HDTV Buying Guide, http://products.howstuffworks.com/flat-panel-tvs-and-hdtvs-buying-guide.htm, Last Updated: 10/17/2007

The Basics: Flat-Panel TVs & HDTVs

With their ultra-thin cabinets, exceptional versatility, and mind-blowing performance, big-screen plasma and LCD digital televisions offer the ultimate viewing experience. These widescreen flat-panel televisions are thin and light enough to mount on the wall, something a big-screen CRT or other projection television could only dream about. The picture of plasma and LCD screens offers exceptional resolution and detail, and these sets are usually packed with additional features to further enhance the image quality.
Almost all plasma and LCD televisions over 32 inches are HD-ready--that is, they can support high-definition programming supplied by an external HD receiver. Many have integrated HD tuners, so there is no need to add an HD set-top box to enjoy the benefits of high-definition content.
Flat-panel televisions are not just making waves in the big-screen department, as these technologically advanced monitors are also readily available in smaller sizes. As plasma monitors generally aren't made in sizes below 32 inches, virtually all flat-panel displays in this range are LCD models.
In addition to the excellent picture and functionality, these smaller flat-panel televisions can be wall-mounted and will fit into spaces traditional CRT sets cannot hope to go. Many of the larger models are HD-ready, and some even include integrated HD tuners to display high-definition content without the need for an external HD receiver. At the same time, these televisions can often pull double duty as computer monitors, which is no surprise, as LCD is the current technology of choice for viewing computer content. Sources and prices. Compare Prices: “Vizio XVT473SV 47" HDTV LCD TV with VIZIO Internet AppsTM delivers the ultimate HDTV experience. Packed with the latest technology including 240Hz, TruLED with Smart Dimming, built-in WiFi (802.11n dual-band), Bluetooth remote and SRS StudioSound HD, this high performance 10080p HDTV also puts the best of the web right on your screen.” http://products.howstuffworks.com/hdtvs/Vizio-XVT473SV-47-HDTV-LCD-TV/productId=102258783 Sears: $1,265 K-Mart: $1,400 Buy.com: $1,326

      1. Wall mounts for flat screen HDTV panels.
http://www.toptvmounts.com/products/swivel-tv-mount-32-60
      1. Control booth. The control booth will be aft of where the central hallway “T-Bones” into the aft cross-aisle and is on a platform which projects over the stage. This platform will be about 3 m x 3 m. If a third traveling spotlight is to be added to this platform, then it would be 3 m deep by 4 m wide.
      2. Balcony. A Balcony, spanning the width of the second floor, above the guest area, will be about 9 meters deep. The chairs should be theater lounge chairs with cup holders on the front of the arms. The chairs will be on risers so as to increase the angle of each succeeding row of viewers, from front to back. Two aisles, one on each side of the control platform, will give guests access. This is the more or less a VIP area and might be catered.
3D, LCD panels, one right and one left will give the guest a “ring-side seat”, just the same if they were in the front row of a regular theater.
      1. Orchestra “pit”. Since, the main deck is all the same height, we can put the orchestra on the main deck in front of the stage or next to the right and left wings at the rear of the main stage. If funding were available, we could build a real “pit” which would be a section of the main deck which could be lowered and raised hydraulically so there would be a differential of about five feet.
    1. Lighting and special effects.
      1. Standards:
        ANSI E1.3 - 2001 (R2006) Entertainment Technology - Lighting Control Systems - 0 to 10V Analog Control Specification ANSI E1.3-2001 (R2006) is a reaffirmation of the E1.3 American National Standard that was approved in 2001. There are no changes in the requirements; the requirements are identical. The reaffirmation document differs from the 2001 version in minor details, including the list of the Control Protocols Working Group members at the time the standard was reaffirmed and the listing of the date on which ANSI accepted the reaffirmation. The standard describes a method of controlling equipment by means of an analog control voltage in the nominal range from zero to 10 volts positive. It is primarily intended for lighting control equipment (controllers and dimmers), but any equipment that might be controlled by a lighting controller (automated luminaries, strobe lights, fog machines, etc.) could use this control method. E1.3 controllers are current-source devices. Control Protocols October 13, 2006
      2. General


General lighting will be specified by our electrical engineer in consultation with the stage consultant. Stage lighting will be provided by use of LED lights, which are low energy, extremely low heat light sources. See examples via Amazon:
      1. .HTL LED Par64 10mm LEDs Wash Stage Lighting 12 Units Package, Price: $839.00 sold by DJ Stage Stop via Amazon.
      2. .HTL 3w Par64 Can DJ Stage Lighting by HTL $199; http://www.amazon.com/HTL-Par64-Can-Stage-Lighting/dp/B004K5I9AY/ref=pd_sim_sbs_MI_2


      1. .HTL LED Bar 10mm LEDs Wash Stage Lighting by HTL $140.00

      1. .Pyle Pro 300 Watt Stereo Receiver Amplifier; $135.99 , + $75.80 Est. shipping
      2. Portable light stands. “A bigger, brighter version of MBT's popular LED Par Pack, this portable package offers much brighter light for medium-sized venues. Uses LED technology to project a deep color wash or exciting chases on a stage or dance floor! Ideal for bands, mobile DJs, theaters, clubs and churches. LED technology produces very low heat, exceptionally long life and low power consumption! Each LEDPAR64 fixture has 200 LEDs for increased brightness and a broad color pallette!” $739.26 http://www.stagelightingstore.com/MBT-LED-Pro-Package
Includes the following: 4 LEDPAR64 LED Lighting Fixtures
5 DMX channels 200 LEDs for strong stage power -- 66 Green, 80 Red, 54 Blue LEDs Built-in dimming & strobing RGB Color-mixing capability allows a spectrum of color possibilities 3-pin XLR in & out, DMX address switches LEDC Easy Reprogrammed controller 9 preset color selection Master dimmer 9 chase patterns with speed/fade control 32 spectrum color mixing Blackout, full-on, audio select LTS01B 12-foot pro lighting stand with crossbar and mounting hardware PC4 4-outlet power center All connecting cables
      1. Portable Lighting mounts. American DJ Portable I-Beam Truss & Stand System + List price:$299.95 16% Off $249. http://www.pssl.com/Lighting-Stand-Truss-Packages; http://www.venuesupply.com/detail/color-burst-led-4-pak-chasing-color-wash-4-bank-led-effect-light-pak-price-4189.cfm?group=0
Easy to use LED chasing color wash 4-Bank LED Effect Light that is great for adding energy and excitement to mobile gigs, party rooms and more! FEATURES: Easy-to-use LED color wash with 140 total LEDS (35 red, 35 blue, 35 green 35 amber LEDs) Great for DJs, small clubs and house parties looking for a burst of color excitement Control chase programs, speed of chase and sound sensitivity from convenient control knobs Includes mounting bracket and tabletop stand Run all night - no duty cycle Long life LEDs (100,000 hr. rating) In/Out IEC power connections to daisy-chain power Power Consumption: 20W maximum Multi-voltage Operation: AC 100V-240V, 50/60Hz Dimensions (excluding bracket - LxWxH): 14.75” x 4.75” x 6.5” Weight: 3 lbs Shipping Weight; 8 lbs (dimensional) Shipping Weight; 24 lbs (pak)
      1. Following spotlight.A ruggedly constructed medium to long throw follow spot, the Comet produces a narrow, hard or soft edged beam which zooms from 2.3 degrees to 12.2 degrees. With top mounted iris, shutter, and dimmer control handles, this easy to use follow spot is designed to use the unique high performance FLE, ENX and FXL quartz halogen lamps. The Comet can be used in any application where manual control of a lighting beam is required to follow a performer and to vary beam size, quality and color. Good for medium to long throws at 40' to 125', the ruggedly constructed Comet produces hard or soft-edged beams with a zoom from 2.3° to 12.2°. Altman’s Comet comes with top-operated framing, iris and dimmer controls, dual adjustable lenses, an adjustable castered stand, spring-loaded self-canceling boomerang, and removable 25' power cable with PBG/U-Ground connector. Includes the high performance 360 Watt FLE halogen lamp.” $1595. Click here for Extra FLE Lamps; Spec Sheet; http://www.stagespot.com/product/ALT-COMET/Altman%20Comet%20Follow%20Spot%20%28Includes%20FLE%20Lamp%29
http://www.pssl.com/Altman-COMET-Follow-Spot-360W-Enx-
      1. StageSpot special effects. "It's way more than just smoke and mirrors".
Illusions used in the film, television and entertainment industries to simulate imagined events in a story are traditionally called special effects (a.k.a. SFX or SPFX). If you're hoping to add that extra something to your show, you've come to the right place.“StageSpot's theatrical lighting and special-effects pros have the equipment and technical expertise to help you create whatever effects you can imagine. We stock everything you need for underwater scenes, flying scenes, dream sequences... even whatever you need to create your own weather (thunderstorms, snow... that kind of thing). Our theatre supplies include strobe lights, smoke machines, haze machines, bubble machines, custom gobos and gobo rotators, confetti cannons, black lights, color gels and pyro equipment... and that's just for starters. StageSpot also carries the other stage lighting equipment and theater supplies you need - even things as basic as gaff tape. If you don't see what you need to create the special effect you're envisioning, just give us a call. We can make it so the audience at your next show walks away saying, "Wow, that was incredible!" and "How did they do that?" https://www.stagespot.com/sfx.html









      1. ANSI Standards
        1. Fog ANSI E1.5 – 2009; http://tsp.plasa.org/tsp/documents/published_docs.php
          Entertainment Technology - Theatrical Fog Made with Aqueous Solutions of Di- and Trihydric Alcohols This standard describes the composition of theatrical fogs or artificial mists that are not likely to be harmful to otherwise healthy performers, technicians, or audience members of normal working age. This standard is intended to be applied in theatres, arenas, and other places of entertainment or public assembly where theatrical fogs and mists are often used. It lists what can be in the fog or haze and how much can be there on a short-term and long-term basis. This PDF is compatible with Acrobat 7.0 or later. Fog & Smoke September 14, 2009
        2. Overhead speakers
          ANSI E1.8 - 2005 Entertainment Technology--Loudspeaker Enclosures Intended for Overhead Suspension--Classification, Manufacture and Structural Testing ANSI E1.8-2005, Entertainment Technology--Loudspeaker Enclosures Intended for Overhead Suspension--Classification, Manufacture and Structural Testing, describes the structural requirements for loudspeaker enclosures intended for overhead suspension, including enclosure construction, component part security, enclosure suspension hardware, manufacturing control systems, structural testing, and product representation. The standard is intended to enhance the safety of overhead speakers at concerts and other public performances by helping to ensure that the speaker enclosures and their connections to the rigging hardware are suitably strong. Rigging November 03, 2005
        3. Photometric luminaries


ANSI E1.9-2007 Entertainment Technology - Reporting Photometric Performance Data for Luminaires Used in Entertainment Lighting This standard defines the minimum photometric data to be presented on documents purporting to accurately describe the photometric performance of stage and studio luminaries used in the live entertainment and performance industries. This edition has fewer requirements than the original 2001 edition. Photometrics March 07, 2007
        1. Serial data transmission
          ANSI E1.11 - 2008 Entertainment Technology - USITT DMX512-A, Asynchronous Serial Digital Data Transmission Standard for Controlling Lighting Equipment and Accessories ANSI E1.11 - 2008 is an updating of USITT DMX512/1990. It corrects errors and clarifies text in the 2004 edition of E1.11, and adds functionality. The new version adds an Alternate START Code for UTF-8 transmission so that languages that can't be rendered in ASCII can be used for sending diagnostic text messages. The download file is intended to be read with Adobe Acrobat or Acrobat Reader, versions 7 or later. Control Protocols December 04, 2008
        2. Electrical power cables
          ANSI E1.16 - 2002 (R2007) Entertainment Technology - Configuration Standard for Metal Halide Ballast Power Cables This standard describes a standard practice for grounding contact assignment for detachable power cables on 6kW, 12kW and 18kW metal-halide lamp ballasts used in the motion picture and television industries on portable studio luminaires that use the MIL-C-5015 connector with #28-6 insert configuration on the ballast end of the power cable. It is a reaffirmation of the 2002 edition. Electrical Power November 06, 2007
        3. Control networks
          ANSI E1.17 - 2010 Entertainment Technology - Architecture for Control Networks (ACN) ANSI E1.17 - 2010, Entertainment Technology - Architecture for Control Networks (ACN), is a suite of documents that specifies an architecture, including protocols and language, which may be configured and combined with other standard protocols to form flexible, networked audio, lighting, or other control systems. It can be implemented on networks that support UDP, IP, and related protocols. It is not bound to Ethernet as a transport medium, but Ethernet is an obvious choice. ACN is being distributed via download as a ZIPped archive of 17 PDFs and a directory of related DDL files as DDL and HTML. The "hardcopy" is a CDROM. There is no paper version. Control Protocols January 06, 2011
        4. GFIC
          ANSI E1.19 – 2009 Recommended Practice for the Use of Class A Ground-Fault Circuit Interrupters (GFCIs) Intended for Personnel Protection in the Entertainment Industry ANSI E1.19 offers guidance on the use of GFCI's in the entertainment industry. They are now used on film and video sound stages with water tanks and on location shoots, and also on some live shows that feature water, but they aren't as used perhaps as widely as would good for safety because using them can sometimes be difficult. ANSI E1.19 was written to facilitate the successful use of GFCI devices. Electrical Power May 15, 2009
        5. Remote control of devices
          ANSI E1.20 - 2010 Entertainment Technology-RDM-Remote Device Management over USITT DMX512 Networks ANSI E1.20 - 2010, Entertainment Technology-RDM-Remote Device Management over USITT DMX512 Networks, describes a method of bi-directional communications over a USITT DMX512/1990 or ANSI E1.11 - 2004 data link between an entertainment lighting controller and one or more remotely controlled lighting devices. The protocol was written to work with the ANSI E1.11-2004 control standard, but will work equally well with the current 2009 version of E1.11. It allows discovery of devices on a DMX512/E1.11 network and the remote setting of DMX starting addresses, as well as status and fault reporting back to the control console. The 2010 edition corrects errors in the 2006 edition, and adds a new message to say that a previously reported problem has been cleared. The 2010 edition is bookmarked for easier use. Control Protocols January 04, 2011
        6. Fire safety curtain
          ANSI E1.22 - 2009 Entertainment Technology - Fire Safety Curtain Systems ANSI E1.22 - 2009, Entertainment Technology - Fire Safety Curtain Systems, describes the materials, fabrication, installation, operation, testing, and maintenance of fire safety curtains and fire safety curtain systems used for theatre proscenium opening protection. The requirements avoid cook-book descriptions of a fire safety curtain system; they specify how a fire curtain shall perform. The download document is in PDF 1.6 format, and can be opened with Adobe Acrobat or Acrobat Reader version 7 and later. Rigging April 21, 2009
        7. Stage pin connectors
          ANSI E1.24 - 2006 Entertainment Technology--Dimensional Requirements for Stage Pin Connectors ANSI E1.24-2006, Entertainment Technology--Dimensional Requirements for Stage Pin Connectors, is an American National Standard build on USITT's S3-1997 - Standard for Stage Pin Connectors. Connectors that conform to this standard will intermate with other connectors of the same size made by other manufacturers. Electrical Power April 06, 2006
        8. Measuring stage luminaries
          Entertainment Technology - Recommended Basic Conditions for Measuring the Photometric Output of Stage and Studio Luminaires by Measuring Illumination Levels Produced on a Planar Surface ANSI E1.25 - 2006, Recommended Basic Conditions for Measuring the Photometric Output of Stage and Studio Luminaires by Measuring Illumination Levels Produced on a Planar Surface, describes the basic conditions--temperature, power supply voltage, et cetera--for any method of measuring the output of a stage and studio luminaire that involves shining the light at a wall and measuring the illumination levels produced. Photometrics September 08, 2006
        9. Measuring shock absorbing floors
          ANSI E1.26 - 2006 Entertainment Technology - Recommended Testing Methods and Values for Shock Absorption of Floors Used in Live Performance Venues ANSI E1.26-2006, Entertainment Technology - Recommended Testing Methods and Values for Shock Absorption of Floors Used in Live Performance Venues, describes a method for measuring how stiff a performance floor is. It also suggests some ranges that have been found to be acceptable--neither too stiff nor too springy. Floors July 13, 2006
        10. Portable control cables
          ANSI E1.27-1 - 2006 Entertainment Technology-Standard for Portable Control Cables for Use with USITT DMX512/1990 and E1.11 (DMX512-A) Products ANSI E1.27-1-2006, Entertainment Technology-Standard for Portable Control Cables for Use with USITT DMX512/1990 and E1.11 (DMX512-A)Products, is a standard for portable data cable used in USITT DMX512/1990 and ANSI E1.11-2004 lighting control systems. ANSI E1.27-1 standardizes the wiring of the data cable and requires labeling so single data-pair and dual data-pair cables can be distinguished from each other. Control Protocols June 06, 2006
        11. Permanently install control cables
          ANSI E1.27-2 - 2009 Entertainment Technology - Recommended Practice for Permanently Installed Control Cables for Use with ANSI E1.11 (DMX512-A) and USITT DMX512/1990 Products ANSI E1.27-2 – 2009, Entertainment Technology -- Recommended Practice for Permanently Installed Control Cables for Use with ANSI E1.11 (DMX512-A) and USITT DMX512/1990 Products, is the second part of a two-part standard for DMX512 cabling. The first part, ANSI E1.27-1, is for portable control cables. The download file is PDF version 1.6. It can be opened with Adobe Acrobat Reader 7 or later, or with an equivalent non-Adobe PDF reader. Control Protocols September 14, 2009
        12. Identification of devices
          ANSI E1.30-1 - 2010 EPI 23, Device Identification Subdevice This EPI specifies a collection of properties which may be exposed by a DMP device to provide detailed information on the manufacturer, model, serial number, hardware and software revisions and other administrative details of the device. These properties are described in a standard format as a templated DDL (sub)device. Control Protocols January 06, 2011
        13. Synchronization of time measurements
          ANSI E1.30-3 – 2009 EPI 25, Time Reference in ACN Systems Using SNTP and NTP ANSI E1.30-3 – 2009, EPI 25, Time Reference in ACN Systems Using SNTP and NTP, is another recipe in the E1.30 cookbook for ACN. It offers ways of providing a time reference so that events can be synchronized. The document's file is in PDF 1.6 format, which can be opened with Reader 7 or later, or an equivalent PDF reader application. Control Protocols September 14, 2009
        14. Allocation of IP addresses
          ANSI E1.30-7 – 2009 EPI 29, Allocation of Internet Protocol Version 4 Addresses to ACN Hosts ANSI E1.30-7 – 2009, EPI 29, Allocation of Internet Protocol Version 4 Addresses to ACN Hosts, is a recipe that changes some of the rules for ACN so that devices with IP addresses not set by DHCP can be used on a network. Device Host Configuration Protocol (DHCP) is a very convenient way to assign IP addresses on a network, but there are cases when IP addresses have to be assigned a different way, perhaps manually. This EPI suggests how. The document's file format is PDF 1.6, which can be opened with Reader 7 or later, or an equivalent PDF reader application. Control Protocols September 14, 2009
        15. Streaming media over Internet
          ANSI E1.31 - 2009 Entertainment Technology – Lightweight streaming protocol for transport of DMX512 using ACN ANSI E1.31 - 2009, Entertainment Technology – Lightweight streaming protocol for transport of DMX512 using ACN, describes a way of transporting DMX512-type data over Ethernet using ACN's (ANSI E1.17) Session Data Transport mechanism. The DMX512-type streaming data can be intermixed with random access data and high speed feedback in a flexible and scalable way on a network. The download document is a PDF 1.6 file, openable with Acrobat Reader 7.0 or later. Control Protocols May 04, 2009
        16. Measuring slipperiness of floors
          ANSI E1.34 - 2009 Entertainment Technology - Measuring and Specifying the Slipperiness of Floors Used in Live Performance Venues ANSI E1.34 describes a very simple drag-sled for measuring the slipperiness of a performance floor, and two procedures to use with the sled. One uses standardized stainless steel feet on the sled to give a coefficient of friction number that can be used to describe the floor in a general way. The second procedure measures the slipperiness with a performer's shoe sole materials. The document is in PDF 1.5 format, and can be opened with Acrobat or Acrobat Reader version 6.x and later. Floors February 02, 2009
        17. Measuring lens quality for pattern projection
          ANSI E1.35 - 2007 Standard for Lens Quality Measurements for Pattern Projecting Luminaires Intended for Entertainment Use ANSI E1.35 - 2007, Standard for Lens Quality Measurements for Pattern Projecting Luminaires Intended for Entertainment Use, describes a method for measuring stage and studio luminaire lens quality with particular emphasis on contrast and perceived image quality (sharpness). It also offers a way for presenting these results on a datasheet in a format that is readily understood by a typical end-user and that allows the end-user to directly compare lenses in a meaningful way. Without this standard, there is no way to describe how clearly a stage lighting instrument projects an image, other than by showing a person with the actual instrument and gobo. Standards exist for projection lenses, but these are not applicable to the lower quality lenses used on stage and studio luminaires. This standard addresses this lack. The download version of this standard is a ZIP file that includes an EPS graphic file of the test pattern in three common gobo sizes; the print version is the standard only. Photometrics October 10, 2007
        18. Use of tungsten-halogen lamps in conventions and trade shows
          ANSI E1.36 - 2007 Model Procedure for Permitting the Use of Tungsten-Halogen Incandescent Lamps and Stage and Studio Luminaires in Vendor Exhibit Booths in Convention and Trade Show Exhibition Halls ANSI E1.36 - 2007, Model Procedure for Permitting the Use of Tungsten-Halogen Incandescent Lamps and Stage and Studio Luminaires in Vendor Exhibit Booths in Convention and Trade Show Exhibition Halls, is a model set of procedures that can be used by convention center and trade show exhibition hall staff to mitigate the risks perceived to be associated with the use of tungsten-halogen lamps and stage and studio luminaires in convention centers and trade show exhibition halls and to allow their use. There is no evidence that tungsten-halogen lamps used in Listed luminaires or that Listed stage and studio luminaires present any greater risk as they are used in exhibition halls than any other light source or type of luminaire in those venues, but the management staff of at least one major convention center in the United States believe that they do have elevated risks. They have moved to prohibit or limit the use of this equipment by exhibitors, but the restrictions are inconsistently enforced, largely because there is no clear procedure to decide when their use is acceptable or not. This standard offers a model procedure to permit or not the use of tungsten-halogen lamps and stage and studio luminaires, and helps promote the use of the lamps and luminaires in a safe manner. Photometrics October
        19. Advisory for lighting controls
          Application Guide for ANSI E1.3 - 2001, Lighting Control Systems 0 to 10V Analog Control Specifications This document explains some of the design implications that may not be obvious in the E1.3 standard. It also offers some troubleshooting guidance for users of analog control equipment. This document does not add any requirements to the E1.3 standard, nor does it remove any requirements. All the recommendations in this document are advisory only. Control Protocols
        20. Book on fog and smoke
          Introduction to Modern Atmospheric Effects, 4th edition The Introduction to Modern Atmospheric Effects, 4th edition is a revised version of the popular handbook on theatrical fogs. Illustrated and with more than twice as many pages as the first and second editions, the book gives the entertainment industry a factual presentation on all types of popular atmospheric fog effects. The section on using fog offers tips on putting fog where it will do the most good, lighting it effectively, working with fire alarms, and limiting exposure. The relative advantages and disadvantages of using time/distance tables and aerosol meters to assure that exposure limits are not exceeded are discussed. Fog & Smoke
        21. Guide for users and installers for DMX512
          Recommended Practice for DMX512: A guide for users and installers, 2nd edition Recommended Practice for DMX512: A guide for users and installers, second edition, by Adam Bennette adds information about ANSI E1.11 (DMX512-A) and ANSI E1.20 (RDM) to the information about USITT's DMX512 that was offered in Bennette's original, popular Recommended Practice for DMX512. This updated edition offers advice intended to help people successfully install and use DMX512-A and RDM equipment. The document is a PLASA/USITT recommended practice, not an ANSI, USITT, or PLASA standard, or an ESTA publication, but it is being offered for sale by The ESTA Foundation as an educational service to the industry. THIS DOCUMENT IS AVAILABLE ONLY AS A DOWNLOAD FILE.
        22. Recommendations or Ethernet cabling systems
          Recommended Practice for DMX512: A guide for users and installers, 2nd edition Recommended Practice for DMX512: A guide for users and installers, second edition, by Adam Bennette adds information about ANSI E1.11 (DMX512-A) and ANSI E1.20 (RDM) to the information about USITT's DMX512 that was offered in Bennette's original, popular Recommended Practice for DMX512. This updated edition offers advice intended to help people successfully install and use DMX512-A and RDM equipment. The document is a PLASA/USITT recommended practice, not an ANSI, USITT, or PLASA standard, or an ESTA publication, but it is being offered for sale by The ESTA Foundation as an educational service to the industry. THIS DOCUMENT IS AVAILABLE ONLY AS A DOWNLOAD FILE.
        23. Template specifications for specifiers
          ESTA_Boilerplate_For_Specifiers.txt ESTA_Boilerplate_For_Specifiers.txt provides cut-and-paste text as a convenience for people writing specifications and wishing to reference in those specifications standards developed in ESTA's Technical Standards Program. Use of this text will reduce the probability of undesired equipment or installation practices being offered in response to a bid or a call for proposals because a standard describing the equipment or installation practice was referenced imprecisely. This document of recommended cut-and-paste text will be revised as new standards are published and older ones are revised or reaffirmed, and as better text specifying the standards is written. TSC
    1. Specification
Free download of specifications: http://www.arcat.com/sd/divs/sd_div09.shtml?gclid=CIvLv-fHyKoCFQrf4AodyiYF1Q
      1. Acoustical wall surfaces. Quality engineered acoustic treatment that combines functionality and aesthetics for commercial offices, retail and institutional environments. http://www.eckelusa.com/products/acoustic-panels/-eckoustic-functional-panels
Easy Practical Installation Since the functional arrangement of the EFPs requires that less than 25-30% of the reflective surface be covered, the panels can be installed without relocating existing sprinklers, lights, or ventilation outlets. Economical EFPs offer superb sound absorption, and more sabines of sound absorption per square foot means fewer panels are required to achieve the desired results. And, less panels in turn means greater cost savings. Low Maintenance Panels require little or no maintenance. To clean they may be wiped down with common household surface cleaners or with warm water and liquid dishwasher detergent.

Performance



Reduction of reverberant noise in rooms is a function of the increase in the amount of sound absorption, as would be obtained through addition of EFPs. The noise reduction is"
NR = 10 log10 A 2 /A 1 Where NR = noise reduction (dB), A 1 = absorption before and A2 = absorption after treatment (sabins).

Reverberation time is calculated by the amount of time in seconds it takes a noise level to decay 60 dB. Desired reverberation time is selected from the graph and the additional absorption required is determined from the following formula:
Additional absorption = 0.05V/R T - A1 SIXTH SUPPLEMENTAL BRIEF - CARP CATCHERS CO-OP

V = volume
Rt = desired reverberation time
At = absorption before treatment (sabins)

The number of panels required is determined by dividing the amount of additional absorption required by the sabins per panel at 500 Hz.

The graph to the right shows ranges of acceptable reverberation times at 500Hz. The lower portion of the band is most suitable for rooms intended primarily for speech, while the upper portion is better for music rooms. For general purpose rooms, a reverberation time in the middle portion of the band is recommended. For some more background information about reverberation, go to the reverberation page.
EFPs Mounting Detail SIXTH SUPPLEMENTAL BRIEF - CARP CATCHERS CO-OP Click here for Specification
    1. Floor coating. Polyaspartic Polyurea
CFFS PG-100™ is a two-component, 100% solids, VOC Free, Aliphatic Polyaspartic Polyurea that was developed for UV stable floor topcoats, marine applications, chemical resistance and corrosion control. This coating provides reliable performance in a wide range of temperatures and climate conditions. 100% UV stability makes it an excellent choice for both interior and exterior applications. http://www.arcat.com/arcatcos/cos46/arc46337.html
  1. VIDEO 3D RECORDING AND DISPLAY
    1. Stereoptic video production
      1. Panasonic - $21,000

The Panasonic AG-3DA1 is the world's first professional, fully-integrated Full HD 3D camcorder that records to SD card media. The AG-3DA1 will democratize 3D production by giving professional videographers a more affordable, flexible, reliable and easier-to-use tool for capturing immersive content as well as providing a training tool for educators.

At less than 6.6 pounds, the AG-3DA1 is equipped with dual lenses and two full 1920 x 1080 2.07 megapixel 3-MOS imagers to record 1080/60i, 50i, 30p, 25p and 24p (native) and 720/60p and 50p in AVCHD. It can record for up to 180 minutes on dual 32GB SD cards in Panasonic's professional AVCHD PH mode, and offers professional interfaces including dual HD-SDI out, HDMI (version 1.4), two XLR connectors, built-in stereo microphone and twin-lens camera remotes.

AG-3DA1's Major Specifications:
• Twin-lens Full HD 3D camcorder (made-to-order)

• Power Consumption: Under 19 W (main unit only)

• Weight: Under 6.6 pounds (3 kg) -- main unit only

• Recording Media: SDHC/SD Memory Card

This Full HD 3D camcorder will offer the following core benefits:

Easier to Use

Current 3D systems are large-scale setups in which two cameras are fitted to a rig in parallel, or vertically intersect across a half-mirror. Separate recorders are also required. In the AG-3DA1, the lenses, camera head, and a dual Memory Card recorder are integrated into a single, lightweight body. The camcorder also incorporates stereoscopic adjustment controls making it easier to use and operate.

The twin-lens system adopted in the camcorder's optical section allows the convergence point** to be adjusted. Functions for automatically correcting horizontal and vertical displacement are also provided. Conventional 3D camera systems require these adjustments to be made by means of a PC or an external video processor. This new camcorder, however, will automatically recalibrate without any need for external equipment, allowing immediate 3D image capture.

More Flexible

The solid-state memory file-based recording system offers greater flexibility to produce Full HD 3D videos in more challenging shooting environments. The AG-3DA1 is lighter weight and smaller than current 3D rigs, while providing the flexibility of handheld-style shooting. Setup and transportation is simplified, making it ideal for sports, documentary and filmmaking projects.

Solid-State Reliability and Workflow

Right and left Full HD video streams of the twin-lens 3D camcorder can be recorded as files on SDHC/SD Memory Cards, ensuring higher reliability than on other tape, optical disc, HDD or other mechanical-based recording systems. This solid-state, no-moving-parts design will help significantly reduce maintenance costs, and the AG-3DA1 will be better able to perform in extreme environments and be more resistant to temperature extremes, shock, and vibration.

And users will enjoy a fast, highly-productive file-based workflow, with instant, random access to recorded content; easy plug-in to both Mac and PC-based platforms; and longer recording capacity.

More Affordable

Using a standardized, fully integrated design, the AG-3DA1 is being offered at a much lower price than traditional 3D rigs. Transportation expenses for this handheld unit will be less and faster setup times reduce labor costs. Using standard, re-recordable SDHC/SD Memory Cards available already everywhere, media costs become almost insignificant.

In addition to a camcorder, Panasonic also announced the BT-3DL2550, a 25" professional-quality 3D Full HD LCD monitor for field use, and the AG-HMX100, a professional HD digital AV mixer for live 3D event production. Panasonic will offer professional production equipment to allow video professionals to efficiently create 3D content, so consumers can enjoy 3D video using Panasonic 3D home theater systems.

To learn more about the AG-3DA1, click here

http://pro-av.panasonic.net/en/3d/

Also for 3D production, Panasonic has introduced the BT-3DL2550, a 25.5-inch 3D LCD production monitor with full 1920 x 1200 resolution, which provides 3D
display with true-to-life color in a durable, production-tough LCD panel package.
Polarized glasses required for 3D.

To learn more about the BT-3DL2550, click here

http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?displayTab=O&storeId=11201&catalogId=13051&itemId=462205&catGroupId=14625&surfModel=BT-3DL2550

For more information on Panasonic's Full HD 3D Technology, click here.

http://3d.panasonic.net/en/
      1. SONY HDRTD-10. Watch video at:
http://store.sony.com/webapp/wcs/stores/servlet/ProductDisplay?catalogId=10551&storeId=10151&langId=-1&partNumber=HDRTD10
Special moments are even better the second time around when captured in true 1920x1080 3D or Full HD 2D. That's videographer geek-speak for vastly richer, more immersive image quality—the kind that engages, amazes and inspires. The HDR-TD10 camcorder allows you to easily switch between recording in 3D and 2D, and if your friends (or fans) don't have a 3D-compatible TV or PC, it's no problem; everything shot in 3D can also be played back in 2D. And with a 3D-ready LCD, you can view content in amazing 3D directly on the camcorder's LCD—without the special glasses. Find out about Sony post-shooting solutions
Prices: AJRichards.com: $1,100; CertifiedDigital.com: $1,-79
      1. SONY 3D LCD Monitor.
      2. NL Video Editors.
Sony Handycam HDR-TD10 First Impressions Review


I have been able to edit 1080p60 using FCP on my G5-Quad. But only after converting to ProRes 422 using MpegStreamClip. It works, but the >200mbs datarate really needs Raid even for a single stream. Editing in Panasonic’s or Sony’s private AVCHD format natively is not yet in the cards. Likely, it soon will be. A variety of editing programs is not what many folks like me need: we need Final Cut Pro, since that’s where we do our work. Delivery: 1080p60 is not supported on Blu-Ray, even if you edit, etc. on a PC with Vegas or Adobe stuff. BluRay players won’t handle it. And that’s the biggest issue with 1080p60. HDMI displays deal with it just fine, but for now, that video pretty much has to come from the camera or from an HDMI terminal on a computer. Not the friendliest of delivery mechanisms to the parents of the bride ;-) Eddie O”
      1. .Terence Kearns , April 20, 2011; 12:37 P.M.
http://photo.net/equipment/sony/hdr-td10/first-look-review/
Sony Vegas Pro is quite the weapon for editing 3D and 5.1 surround. It stacks up to the more established pro tools in the desktop computing market. Check it out. I saw an unofficial keynote video for Apple's new Final Cut Pro X, and noticeably absent was any mention of 3D - and their current version of FCP is years old.”

Price For All Three:$1,155.96
Buy the selected items together

The Panasonic VW-CLT1 3D Conversion Lens makes your video's come to life in three dinensions! It is a special dual-lens attachment that, when paired with a compatible Panasonic camcorder, records right-eye and left-eye images simultaneously to produce three-dimensional video. The right and left images are together captured at a resolution of 960 x 1080, with a field of view equivalent to 58mm on a 35mm camera. Able to focus from 1m to infinity, the lenses share a convergence point of 1.5m (4.9')--which means images recorded closer will appear to be coming out at you, while those further away seem to recede into the distance. These colorful 3D images can then be viewed at home using a TV that employs the side-by-side method of 3D playback.”
      1. 3D Glasses
        1. Sony 3d glasses, $150/pair; IR Emitter,- required - $50; optional USB WIFI Dogle $80.00.
        2. LG AG-F200 3d glasses, 2 pack: Retail: $21-25; used $14.00. bundled, 10 pair for $14.00
      2. 3D Displays
        1. LG Infinia 5600, LED HDTV 3d, retail: $2,399. HomeBuysPlus.com Auction, $229.30. GoSale.com: $1,439.00
G Infinia 55LW 5600
HomeBuysPlus.com (Ebay seller) http://www.ebay.com/itm/ws/eBayISAPI.dll?ViewItem&item=220829732811+&item=220829732811&lgeo=1&vectorid=229466
$1,439.00

Condition:
Brand:
New: A brand-new, unused, unopened, undamaged item in its original packaging (where packaging is applicable). Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See the seller's listing for full details.See all condition definitions- opens in a new window or tab...Read moreabout the condition LG
Description Feel the picture coming alive in your living room with the 3D technology of the LG 55LW5600 television. Included with a Magic Motion remote, this LG 55-inch television makes navigation and managing application simple and quick. The LED Plus technology of this LG LED television boosts the brightness, contrast and details of the pictures. Watch motion and action scenes without any blur with the TruMotion 120 Hz feature of the LG 55LW5600 television. Share your content with your laptop or any other Wi-Fi ready devices wirelessly with this LG 55-inch television. Take the pleasure of watching 2D pictures in 3D with the 2D to 3D conversion feature of this LG LED television. The Full HD 1080p resolution of the LG 55LW5600 television delivers sharp and refined images.




    1. Stage system - consultants
      1. Richard Ingraham | LinkedIn
www.linkedin.com/in/rbingraham - Cached
You +1'd this publicly.
Cleveland/Akron, Ohio Area-Adjunct Faculty at Carnegie Mellon University-Carnegie Mellon University Consultant at Stage Research Inc. Resident Sound Designer at The Cleveland Play House ... Professional Audio system set up, operation, and installation
      1. Technical Support Consulting (TSC) is a professional group of consultants, engineers and contractors specializing in the design and installation of sound, acoustics, lighting and video systems. Based in Albuquerque, New Mexico, TSC systems and our designs are found throughout the Southwest.
http://www.tsc-systems.com/rts/index0016.html?siteid=517
      1. Boston Light and Sound. Boston Light & Sound delivers first-class audio and visual experiences. We continually seek to perfect the art of presentation, from archival film to digital cinema and sound. As the technical consultant for discerning clients around the world, we deliver spectacular cinema presentations and rich audio experiences for the world’s most prominent film festivals, special events, movie screenings, performing arts centers, theaters, museums, houses of worship, sports venues, universities, and more. http://www.blsi.com/index_fox.html
      2. Scheu Consulting Services, Inc. “Like every project, every client is unique, with unique needs. We customize our services to meet the specific requirements of every project and client. We respond fully and in a timely manner (no matter what your project size or budget) with personalized service. And there’s no such thing as a 'cookie-cutter' project.” http://www.scheuconsulting.com/

Our Capabilities:

Facility Planning – Thoughtful layout and planning of a theater’s technical areas based on current or future programming is critical to maximize the usefulness and flexibility of the available space. We have practical “real world knowledge” in how to plan backstage areas, including dressing rooms, scene shops, on and off stage spaces, as well as other technical areas. Electrical service requirements, HVAC routing, structural steel layout and many other non-theatrical systems are all affected by decisions made early on. We also assist planners in developing realistic budgets and schedules. Acoustics and Sound Systems Consulting – Noise isolation, wall types, room acoustics, and sound systems. It’s a blend of art and science. We have the resources to plan and design your space to fit your programming needs. High-tech testing equipment and old-world knowledge combine to provide “cradle to grave” services. Theater Equipment and Technical Systems Design - Stage rigging, concert shells, adjustable acoustics, stage lifts, lighting and sound systems all must be properly designed and/or selected and they must be installed correctly to provide many years of trouble free use and flexibility. Scheu Consulting Services specializes in the proper selection, design, specification, and installation of stage equipment systems. Project Management – Specification and bid document preparation, bid reviews, and the close supervision of fabrication and installation all play crucial roles in a successful project. We help insure that our clients get the value and quality they expect from their contractors, and help keep the project on time and on budget. Safety Inspections and Training – Periodic inspections and training in the proper use of stage systems forms an integral part of the safety program in any facility, large or small. Our knowledge and commitment to the highest standards of safety are brought to bear when we are asked to inspect existing systems or provide training to your staff. Many programs are available. We use ONLY ETCP Certified Technicians for all our inspections and training programs. Design and Drafting Services – We also offer support services to assist our colleagues in the industry, including other Theater Consultants, manufacturers, dealers, and installers.” Scheu Consulting Services, Inc. 310 Falls Boulevard Chittenango, NY 13037 USA Tel: 315.510.3368 Fax: 315.266.929 info@scheuconsulting.com
    1. Guest space
      1. Show only performances. Show performances (no meals and beverages served at tables; snack bar available). Soft, upholstered folding arm chairs with lower lumbar support will be arranged in rows which will allow for three suitable aisles with two person walkways. Chairs will be stored in wheeled racks inside storage side areas to the right and left of the guest space. Refreshments will be available at the refreshment tables at the end of the ship opposite the stage.
      2. Catered performances. Six and eight place round tables with folding legs will be distributed along with the folding, upholstered chairs. Tables will be stowed on wheeled racks in side storage areas.
      3. Dances. Ballroom dancers will use most of the center portion of the guest space with tables and chairs lined along the side walls. One end will be the stage and the other end are refreshment tables. We will sponsor ballroom dance competitions in lieu of the talent shows. We will also occasionally feature a large swing band. Saddle shoes, fluffy skirts for the gals and string ties for the guys are “in”. Laverne and Shirley, where are you?
      4. Conferences. Conferences will use the stage and a “show only” seating arrangement in the front half of the guest area and tables and chairs in the back half so that people with computers will have a place to set them.
      5. Food Service. Food service will be from the kitchen on the second deck and then placed in heated, wheeled carts similar to those found in hospitals with refrigerated or frozen items in a side cooler/freezer. A large elevator will serve all decks of the ship. Most meal offerings will the “family style” with vegans and vegetarians served individual meals as ordered from the menu.


  1. SOURCING AND PRICING
      1. The Silverfin. Sourcing and pricing information for most of the ship will be recorded on an Excel spreadsheet. See attached sample: Source, Specification and Price of Materials and Equipment for Fleet.
      2. Much of the sourcing and pricing for the Carp Ark will carry over to the Silverfin.
      3. Silverfin Restaurant and Market. A professional restaurant designer will be engaged to provide the design, specifications, sourcing and pricing for the restaurant.
      4. Silverfin Theater. The talent show consultant will be engaged to provide the design, specifications, sourcing and pricing for the Silverfin Theater.
  2. DISTRIBUTION
The Silverfin will provide considerable support to the distribution of packaged fish and fish meal. The main distribution nationally will be by common carrier to major wholesalers of fish products in major markets, except for the markets which can be easily served by the CCC distribution crews. The Carpe Carpae will house the initial production of the product and transfer the cases to semi-trucks at dockside each Friday afternoon, and/or to dockside warehouses for later pickup. Each of two large van trailers will also be filled with cases of fish. The trailers will attached to Ford F 350 flatbed trucks with heavy duty bumper hitches with anti-sway. These trucks are owned by CCC and constitute the primary means of “Locavore” distribution – namely within about 100 miles of each port-or-call. Because of the lack of convenient bridges across some of the rivers, an alternative distribution system will be adopted. The distribution teams are: the Silver and the Bighead. Each team will be equipped with a three-quarter ton, 4x4 SUV with a bumper hitch with anti-sway, a 35' travel trailer, a Ford F350, 4x4 crew cab flatbed truck with a heavy duty bumper hitch, and an enclosed cargo trailer van. Generally, the SUV will pull the travel trailer and the F350 the loaded cargo trailer. The crews will primarily be a family with young children, although not necessarily. Here is a likely scenario:
    1. The Bighead crew. This crew provides the distribution on the east side of the Mississippi River with most of the ports-of-call on the west side. The travel trailer has been parked in a trailer park or campground during the week and the kids have been enrolled in elementary school with the youngest enrolled in pre-school by the mom. During her “free time” mom uses the SUV for shopping and calling on potential retail stores and institutions which are likely customers for the fish and on agricultural feed stores, farmers and animal keepers who are likely customers for the fish meal. Orders are taken and called-in to the order desk on the Carp Ark. The order desk the arranges for the shipment and delivery either by common carrier or by the driver of the F350, here, the “dad”.
When the kids are out of school Friday, the travel trailer is hitched to the SUV and heads for the other side of the river, either via a convenient bridge or to a boat ramp landing to meet the USES Silverfin. Lets assume there is no convenient bridge, but there is a convenient landing. The Silverfin arrives and the SUV and travel trailer boards it Friday afternoon. At the same time, the F350 arrives pulling the filled cargo trailer and embarks onto the ship. The ship travels to the next intended port-of-call and the SUV, the travel trailer, the F350 and the cargo trailer disembark. The SUV pulls the travel trailer to the pre-arranged trailer park or campground and the F350 distributes the fish product on the east side of the river, then returns to the trailer park. The Silverfin's main deck is now cleared and the performance space and guest space readied for use by the talent show producers. On Sunday about noon, the morning gospel music concludes and the performance and guest space cleared and readied for vehicles. The SUV and travel trailer is embarked as is the F350 and empty cargo van, assuming there is no convenient bridge from the east side to the west side of the river. Monday morning, the Silverfin casts-off and travels to a landing ramp on the east side of the river and loads the SUV, the travel trailer, the F350 and the empty cargo trailer. The SUV and travel trailer head for the pre-arranged trailer park or camp ground on the west side of the river, drops the travel trailer, and spend the weekend enjoying the local areas. The F350 and the cargo trailer of the Bighead crew are loaded during the weekend and are ready to board the Silverfin Sunday night. Come Sunday night, the two vehicles with trailers embard on the Silverfin and are transported to their next port-of-call.
    1. The Silver crew. The Silverfin crew accomplishes the same type of distribution and trailer park seeking trips except no shuttling across the river is involved. Both distribution crews have the weekend free to do as they wish. Should either or both the Silver and the Bigheads distribution crew have no distributions planned for their side of the river, the travel trailer will stay on the main deck from Sunday night through the following Friday afternoon. Hook-ups for water, sewer and electricity will allow residential use of the travel trailer and use of the Silverfin for food and recreation. The only condition is that if at the next port-of-call, a talent show will be produced, then the main deck will have to free of the vehicles and trailers by Friday afternoon.
    2. Fish meal. Both F350's are flatbeds so the beds can hold several totes (4' x 4' x 4') filled with fish meal for delivery to the customers along the routes of distribution. The totes are so designed that either a tote can be stacked on top and secured. The pallets would hold bagged fish meal for pet stores and producers of tropical fish and exotic birds. We could buy F350 flatbeds, then rig a light crane (bee keeper type) with a stand installed just ahead of the headboard with a boom long enough to reach the totes at the tail of the flatbed. This allows for the totes to be lifted from the flatbed to the ground or to the buyer's truck. When the tote is emptied or the bagged fishmeal is removed, the tote is lifted onto the flatbed by the crane or the buyer can deliver the empty tote or pallet to dockside.
    3. Biodiesel. Should there be sufficient excess production of biodiesel by the Carp Avenger, 55 gallon drums could be loaded on pallets (4 per pallet) and stacked on the flat bed, then totes or bags on pallets could be placed on top and secured. Thus biodiesel could be delivered to farmers and contractors for off-road use (thus avoiding a great deal of regulation and testing) and totes of fish meal, all at the same time.
    4. Economics. Without the USES Silverfin participating in the distribution, one of the distribution teams would be driving considerable distances for crossing the rivers, thus impeding delivery and sales. The Silverfin is also a stocking warehouse. Stocking warehouses is an alternative, but security is a problem (theft and rodents) and still more driving would be required. Also, the restaurant will offer sales of fish products on board the Silverfin, thus providing local retail and wholesale customers the opportunity to view, taste and buy the fish meat. Because of limited storage space in the fleet, it is important that the product be move off-ship as soon as the fleet docks.

The faster we can “turn” the fish product, the quicker the cash inflow will become. Much depends on the advance team and the distribution team to promote the consumption and sales of
Silverfin fish products. The USES Silverfin is an integral part of the marketing and distribution of Silverfin meat and fish meal.
    1. International sales and distribution. Assuming our catches will support the sales of smaller, gutted, whole fish to Asian markets, CCC will case the fish, load the cases onto pallets and place the pallets in cargo containers to fill orders from Asian countries. If such sales become a major part of our market, we may need lengthen the Carpe Carpae to carry the containers so they can be filled with fresh production and not impede harvesting and processing of fish. There a numerous bulk transfer points along the major rivers which can crane the cargo containers on and off ships and barges. The stern, open deck would be lengthen to carry containers five wide and two deep, with doors facing outward, for a total of ten containers, all of which an be loaded with a small forklift. The gross weight, loaded for a 53' container is: Size is 8' x 8' x 53' = 3392 cu. ft. times specific gravity of 0.50 x 65 lbs or 110,240 lbs, which may exceed the gross weight for a container. The container weighs about 8,000 lbs, so the net payload is about 90,000 lbs. 90,000 / (65 x .5) = 2769 cu ft. which divided by (8 x 8) yields 43' so the containers will be 40' ones, each filled will weigh about 85,000 pounds. 89,000 x 10 = 890,000 lbs or 222.5 tons, which will require a displacement of water: 890,000 / 65 = 13,692 cu ft. The ship beam is 48' and the added length is 80', so 48' x 80' = 3840 cu ft. x 3' of draft = 11,520 cu ft below the water line which displaces water equal to 11,530 x 65 = 748,800 pounds, which is 141,200 lbs short. So our length to support the load would need to increase to match the load, to about 100 feet. The alternative is to lengthen the ship by one row of cargo containers and make more frequent stops to unload the containers.
2. ADVACED BATTERY TECHNOLOGY The ships will be powered by electricity in a hybrid power generation system, including Diesel-electric gensets, PV power, solar furnace CHP systems, and heat recovery from exhaust manifolds, boilers and fish meal cooking vats. If electric energy is not stored, it is wasted as it is generated (or not even generated, thus the heat is wasted). The newest and most promising means of storage of electricity is the zinc-air battery. This science was pioneered by Lawrence Livermore National Laboratory (LLNL) and has been commercialized by several firms. Lawrence Livermore National Laboratory Powering Future Vehicles with Refuelable Zinc-air Battery www.llnl.gov/str/pdfs/10_95.1.pdf Eos Energy Storage http://www.eosenergystorage.com/technology Zinc Air, Inc. http://www.zincairinc.com/newsroom.php U.S. Firm Licenses Zinc-Air Battery Technology http://www.chinabuses.org/news/2010/0926/article_3672.html

Zinc-Air a greener and more efficient battery

http://www.technologicvehicles.com/en/news/108/ 3. ELECTRICAL ENGINEERING. The electrical system involves the integration of many parts from many different manufacturers. Thus the electrical engineering is critical to the successful operation of the fleet. For the purpose of initial engineering, souring and pricing of electrical equipment and systems, MASA has chosen Schneider Electric to head the electrical engineering effort including a “project management – electrical system” role. Schneider Electric is a France-based, global electrical supplier of high level electrical and electronic systems and offers electrical engineering services. Its subsidiaries include Square D, APC, and many others. The short summary of its history is stated:

A global, innovative and responsible company

From steel in the 19th century, to electrical distribution and automation in the 20th and energy management in the 21st, Schneider Electric has always been driven by an international, innovative and responsible mindset to shape the transformation of the industry it was evolving in.” http://www2.schneider-electric.com/sites/corporate/en/group/company-profile.page Schneider Electric offers customers and potential customers the services of an “extra-net” Collaboration Project Portal. This portal allows for a wide diversity of contributors to focus on a project and manage it complexities successfully. It is the ultimate tool for uses in connection of a “stages and gates” approach to research and development. An extensive collection of the company's offering and level of expertise is attached as the paper: CARP CATCHERS COOPERATIVE COMMERCIAL FISHERY PROJECT – PROJECT MANAGEMENT PLAN. MASA is committed to developing the Asian carp fishery, and also to developing a new breed of light, buoyant, wooden ships for the inland waters which have the smallest carbon footprint and are self-sufficient and sustainable as much as possible. The operation of the ships will utilize some amazing renewable resources for energy and water treatment. A grant of $500,000 will “jump-start” this “sea change” in shipbuilding and ship operations.

Respectfully submitted, James E. Miller, BA, BS, JD President, Mutual Aid Society of America, Inc. Cc: Michael Russ: russ.michael@epa.gov; Dave Cowgill, Phone: 312-353-3576; Email: cowgill.david@epa.gov' Attachments: Source, Specification and Price of Materials and Equipment for Fleet. CARP CATCHERS COOPERATIVE COMMERCIAL FISHERY PROJECT – PROJECT MANAGEMENT PLAN.

ii

Dr. Mohr is the Jeff and Martha Hamilton Distinguished Faculty Fellow and Professor of Marketing at the University of Montana. She has a Ph.D. in Marketing from the University of Wisconsin. Dr. Mohr’s primary research interests include marketing of high-technology products and services for technologies such as the Internet and e-commerce. Her popular book, Marketing of High-Technology Products and InnovationsSIXTH SUPPLEMENTAL BRIEF - CARP CATCHERS CO-OP written with co-authors Drs. Sanjit Senqupta and Stanley Slater, is currently in its third edition. Before Dr Mohr began her academic career, she worked in Silicon Valley in advertising for Hewlett Packard’s Personal Computer Group and for TeleVideo Systems.


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