When Might You Need to Hire Powered Access Equipment?
For most businesses, powered access will either be needed in extremely rare instances or never at all. Scissor lifts, cherry pickers and boom lifts are specialist pieces of equipment, which are purpose built for working at height. So in what situations might you choose to hire one of these machines?
The scissor lift is basically a huge platform mounted on a hydraulic lift. It is manoeuvred into position by a motorised base and then can only be raised or lowered to the required level – with all lateral movement controlled by the vehicle. With a reach of up to 18 metres, they provide the perfect platform when working at great heights. The sizeable platform area makes it the perfect solution for transporting numerous operatives and all their equipment to lofty heights. Whether you’re working on a roof, or the exterior of an office building, the access that a scissor lift provides could prove vital.
As with any powered access vehicle, the boom lift is mounted on a motorised base. This allows it to be driven across any site to find the optimum position from which to work. Unlike a scissor lift though, a boom lift features a platform on the end of a versatile, extendible boom arm. This allows it to reach up to 18 metres horizontally and 43 metres vertically. The boom lift can really get you into some unlikely places that a scissor lift simply can’t get near. Therefore you can work in tight spaces or gain access to a roof area with consummate ease thanks to the overarching boom. Whilst the platform doesn’t quite have the same size, the real benefit is in the versatility and length of the arm.
Cherry Picker Hire
The smallest of the three powered access machines featured here, a cherry picker is a compact and versatile vertical platform. You can often get a little over 10 metres of reach on one of these, which isn’t the hugest distance, although more than enough for most indoor duties. Boom options are available with larger models, helping to improve access to more challenging areas. They are built to work indoors or out and can be used for a variety of tasks.
Although it certainly doesn’t have the scope of a scissor lift, a cherry picker more than makes up for its diminutive size with easy operation, impressive flexibility and a compact design that makes it ideal for (comparatively) small spaces. It’s important to remember that operators must have a powered access licence to use the equipment safely and legally. Therefore if you’re looking at hiring a cherry picker, scissor or boom lift make sure that you have someone on site who is able to actually operate it. The hiring company will usually clarify this before collection or delivery, but due to the heights you’ll be working at it is imperative that only trained staff use this equipment.
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Saturday Night Fever – The Template For Club DJs And Disco Equipment by Dominic Donaldson
The 1977 film ‘Saturday Night Fever’, in which John Travolta starred as angry Brooklyn youth Tony Manero whose life revolves around dancing, signaled the point where Disco became main-stream. Helped in no small part by a Grammy award winning soundtrack by The Bee Gees, the film, and the Disco phenomenon, went global and the world saw a huge demand for disco records, disco fashions and disco equipment. But disco had been around for many years before.
It is widely accepted that the first club nights that played what we call disco music appeared in New York in the early 1970′s. Although the disco equipment used at the time was not that dissimilar to that used by DJs playing other types of music. These clubs and club nights played exclusively dance music which encompassed rhythm and blues, soul and funk. It was therefore inevitable that disco music gravitated towards these venues and flourished.
In 1972 Manu Dibango released the single ‘Soul Makossa’. It received favorable radio play and copies were bought by club DJs who recognized its potential to fill dance floors. From these early beginnings as an underground movement, disco took. By 1974 it was a recognized genre with its own fashion, language and etiquette. Radio stations started broadcasting under the disco banner and sales of disco equipment increased as its popularity spread.
Disco was heavily influenced by the soul sounds coming out of cities like Philadelphia and New York and by Berry Gordy’s Motown record label in Detroit. The speed with which disco seemed to emerge from the 1960′s soul scene was helped by new recording techniques which were pioneered by a new breed of record producer. These new producers, including people like Mel Cheren and Marvin Schlachter, embraced new technology and found a new freedom in producing records and pushing the boundaries of recording and disco equipment.
Disco was liberating without being overtly political. Of course, the liberation has a political current that can be traced retrospectively, but unlike folk music and folk influenced rock music, the message was the medium. Disco was dance music at its most fundamental. It was stripped of all baggage, with the sole intention of getting people to dance together in clubs.
Disco is the point when DJs and DJing became bigger than the sum of its parts. Disco became an experience more than any dance music movement before it. There had always been fashions and styles connected to music but with disco, there was a bigger package. Flashing lights, glitter balls, big speakers and amplifiers and all manner of disco equipment became an important part of the disco statement.
So when John Travolta, twenty foot high on the silver screen, walked down the street to the strains of The Bee Gees singing ‘You can tell by the way I use my walk I’m a woman’s man’ everything was in place for disco to become the musical sensation that we now know it as.
When people criticize disco this is one of the aspects that they always mention. This apparent ‘style over substance’ approach to music and performance was seen as juvenile by many and its apparent lack of a political manifesto, however small, upset many who thought music should stand for something other than hedonism. Of course they were missing the point. Disco was able to happen because of changes in politics and society and had repercussions that are still felt today.
Say DJ to anyone nowadays and the chances are the image that will be conjured up is of a dance floor lit up with strobes, colored lights and a gliiter ball. The image owes everything to disco.
Dominic Donaldson is an expert in the disco equipment industry.
Find out more about disco equipment and other recording and amplification equipment.
Article Source: http://www.earticlesonline.com/Article/Saturday-Night-Fever—The-Template-For-Club-DJs-And-Disco-Equipment/425413
