11-28-08 New AppleCare articles

Here are all the ProApp-related AppleCare articles from the last two weeks.

Final Cut Pro

Final Cut Pro: Creating an Easy Setup for capturing DV with 32 kHz audio - If you often need to capture DV (digital video) that has an audio sample rate of 32 kHz, you may want to create an Easy Setup in Final Cut Pro with all the necessary settings.

Final Cut Pro: Audio channel 4 may show no activity in Log and Transfer window with RED clips - When you ingest RED clips with four audio channels, the audio meter may show no activity on channel four when you preview in the Log and Transfer window.

Final Cut Pro: Restoring a DV device connection in QuickTime 7 - If you notice a loss of connectivity between Final Cut Pro or Final Cut Express and your DV camera or deck after upgrading your versions of Mac OS X and QuickTime, here's what you can do to resolve the issue.

Final Cut Server

Final Cut Server: Connecting the database to the correct local user account - Final Cut Server uses configuration data which refers to the administrative user that installed the software. This configuration data contains the User ID (UID) which is different than the username of the administrative user. There may be situations where the Final Cut Server configuration data does not match any existing UIDs of local administrative users. For proper functionality, make sure that the UID in the Final Cut Server configuration data matches the appropriate administrative user's UID.

Soundtrack

Soundtrack: About Recording Latency - Audio recorded with Soundtrack may not be in sync with existing tracks in the project. After recording an audio clip, the clip is slightly out of sync with the other tracks in the project. Typically, this occurs on computers with a single microprocessor. The latency may be more pronounced on computers with slower microprocessors.

DVD Studio Pro

DVD Studio Pro: Rules for Entering DVD@CCESS Links - The DVD@CCESS feature allows you to add additional interactivity to your DVD title when it is played on a computer. When authoring a DVD, it's important to enter the links in the correct format, or they might not work as desired.

Shake

Shake: May show version 4.1 after update to 4.1.1 on Mac OS X - The Shake 4.1.1 update affects only the QuickTime component. You may notice the Shake version number does not change across the rest of the application or its scripts.

Qmaster

Apple Qmaster: Sharing sometimes does not enable with custom shared cluster storage path - Sharing sometimes does not successfully start when you have set a custom shared cluster storage path. When you click Start Sharing in the Apple Qmaster System Preferences pane, the button dims and may not switch to Stop Sharing. If you quit System Preferences and reopen it, the Stop Sharing button may appear to be active, but the Quickcluster may not be available in Compressor.

FCS Remover 2.0.3 released

This is a bug fix update for FCS Remover, bringing it up to version 2.0.3.

It fixes the issue some Leopard users were getting where Final Cut Pro would crash upon reinstallation, citing missing frameworks, due to the latest 6.0.5 patch for FCP. This issue is now fixed.

This new version will fix the issue for future users but if you already are experiencing it, follow the steps here to fix it.

As always, we consider your feedback to be very important in the development of our products, so feel free to use the links in the Help menus of our applications to report bugs and suggest features, or use the links below.

Report a Bug
Suggest a Feature

More tools...

Pro Applications Update 2008-04

Yesterday Apple posted a big ProApp update containing updates for several applications.

Final Cut Pro 6.0.5

Improved High-Precision Rendering
If you render sequences using the high-precision video processing setting, make sure to update to Final Cut Pro 6.0.5 for improved reliability when rendering still images and footage in high-resolution formats.

Extended Metadata Support for the Panasonic AG-HMC150 Camcorder
Final Cut Pro 6.0.5 captures the additional metadata for footage recorded with the Panasonic AG-HMC150 professional AVCHD camcorder.

Improved Support for the Panasonic HDC-SD9 Camcorder
Final Cut Pro 6.0.5 provides enhanced precision and reliability when ingesting files from the Panasonic HDC-SD9 camcorder.

Improved Support for Metadata Imported from P2 Cards
Final Cut Pro 6.0.5 provides support for extended metadata that is captured on P2 cards.

However, one of the biggest features doesn't even come from Apple. RED have posted their Final Cut Studio Installer that adds native .R3D file support to FCP 6.0.5.

Compressor 3.0.5 and Qmaster 3.0.5

Using QuickClusters and Back to My Mac on the Same Computer
The QuickCluster feature of the Apple Qmaster distributed processing system is a simple and automated alternative to creating and configuring clusters manually. In previous versions of Compressor, enabling the Back to My Mac feature in Mac OS X v10.5 Leopard would remove any existing QuickClusters. This issue has been resolved. For more information about QuickClusters, see the Distributed Processing Setup guide.

Color 1.0.3

Improved Format Support

Color 1.0.3 provides support for XDCAM 422 media and for the RED plug-ins for Final Cut Studio.

The RED plug-in and accompanying documentation can be downloaded at http://www.red.com. For workflow suggestions and more information about this format, see HD and Broadcast Formats, available from the Final Cut Pro Help menu.

Improved Application Reliability
Overall application reliability has been improved, including in the following areas:

* Using trackers in the Geometry room
* Using the Reconform command
* Adjusting the Minimum and Maximum nodes in the Color FX room

Improved EDL Handling
Accuracy and reliability during EDL import have been improved.

Application of Display LUT Now Indicated Consistently
Color 1.0.3 consistently indicates when a display LUT has been applied to a project in the Project Settings tab of the Setup room.

Improved Handling of DPX Image Sequences
Color 1.0.3 provides improved reliability when reading and outputting the header information of DPX image sequences, including timecode, frame size, aspect ratio, and transfer code.

The Fix Headers Button Now Works Properly
The Fix Headers button, which appears in the clip bin of the Setup room when you select an image sequence, now correctly alters the header information of DPX image sequences.

Improved Handling of Interlaced Media
Interlaced clips with Pan & Scan adjustments in the Geometry room correctly render the exact range of clip media.

Tangent Control Surface Mappings Are Improved
The HSL qualifier and reset control surface mappings for the Tangent CP100 control surface have been fixed.

Shake 4.1.1

* This update addresses compatibility issues for QuickTime codecs greater than 8 bits.

I don't think anyone expected Shake updates but yes, you read that correctly. Apple later posted a knowledge base article clarifying that the fix was for the QuickTime component only so Shake itself will still display 4.1 as its version number. It's also worth noting that this only applies to people who applied for the Shake 4.1 crossgrade or purchased it after 4.1 came out - 4.0 owners will not be able to upgrade.

Pro Applications Update 2008-04 Release Notes

I know you're probably dying to install these updates but first, make note of the Golden Rules (TM):
* Never update in the middle of a project.
* Don't update if you don't actually need any of the features included in the update.
* Always clone or backup your system beforehand.
* Wait for at least a week to see if there are any reported problems with the patch.
* Wait even longer if you're using third party hardware or plugins e.g. the AJA Kona card or FXFactory plugins.

How to keep your job as an editor

As an editor, there are certain technical things you can do that will, in most cases, result in instant dismissal by your employer. Here are some tips on how to avoid these pitfalls.

Black frames

We've all done it - you've got the timeline zoomed out, you drag a clip and think it snapped to the end of another clip but really it snapped to a marker or overlapping bit of audio right next to it. Consequently there'll be a gap and a flash of black when the clip is played back - which producers and audiences never fail to notice.



Before you output, put the playhead at the start of the timeline and press Shift-G. This will jump the playhead to the next gap in the timeline. If you encounter a gap, press Ctrl-G to close it. If no more gaps can be found, the playhead will jump to the end of the timeline.

Unsafe luma levels

Maximum white is higher on a computer than it is on a TV. Consequently, it is possible to set white levels beyond maximum levels for NTSC broadcast. If this happens, overmodulation can occur which means that the signal can leak to radio frequencies other than the ones assigned to the TV channel, resulting in the TV company getting into big trouble with the FCC. Not surprisingly, this trouble would come your way very quickly (that's a worst-case scenario by the way).



When I am color correcting, I always switch on the luma indication in Final Cut Pro (View > Range Check > Excess Luma). This will tell you with a warning triangle and red "zebra" lines which areas are above the recommended limit. You can then use a 3-way Color Corrector to bring down the highlights until the triangle changes into a green tick.



Then, just before my project is ready for output, I create a new sequence in Final Cut Pro and nest the old sequence inside it by dragging it from the Browser into my new timeline. I then go to Effects > Video Filters > Color Correction > Broadcast Safe to make the entire nested sequence broadcast safe.

Why do I perform this step when I already made it safe earlier? Because you can't be too careful. Maybe I thought I'd corrected each one but I'd actually missed one out by mistake. Maybe I added a last-minute clip that I forgot to correct. And if you're wondering why I nest it instead of just selecting all the clips and applying the filter to all of them, that's because I might be asked to make a last-minute change right before it goes out (in the world of broadcast TV anything is possible at the last minute). Nesting the sequence ensures that everything inside that sequence will be broadcast safe, no matter what I change later on.

It's also worth mentioning that the default settings for the Broadcast Safe filter work for the vast majority of cases. It's rare to have to modify them.

Peaking audio

Like luma levels, audio levels have a maximum limit as well. If they exceed 0 dBFS on Final Cut Pro's audio meters, they will produce an audible "crunch" noise that is very ugly to hear and will instantly distract any engaged viewers.

For broadcast work, it is recommended to have your dialogue around -12 dBFS (but not lower than -18 dBFS), with very loud sounds not exceeding -6 dBFS. Film post production tends to work with a higher dynamic range so the dialogue is normally around -18 dBFS.

The most important thing, however, is that your audio doesn't exceed 0 dBFS. To ensure this, after you've completed your mix, drag the sequence from the Browser to the Viewer, then go to Mark > Audio Peaks > Mark. This will put markers in your timeline at every point where the audio exceeds 0 dBFS. This is another of those situations where even though you've already mixed it, it's so quick and easy to check for peaks that there's no reason not to do it.



To remove the markers again, go to Mark > Audio Peaks > Clear or Mark > Markers > Delete All.

Incorrect field dominance

Here's one you probably won't spot unless you are using a broadcast monitor. This is why it's important to use a broadcast monitor or at worst, a regular TV, to view your work before output.

Interlaced video uses fields to display the image. There is a field for odd-numbered lines and a field for even-numbered lines, and they are displayed one after the other for every frame. But which one should be displayed first?

NTSC video uses the Lower (Even) field dominance, meaning it shows the even-numbered lines first. If you add a clip to your timeline that has Upper (Odd) field dominance, its fields will be reversed and the motion between those fields will be reversed, so moving objects will tend to judder as they move forwards and then backwards. PAL and HD video use the Upper (Odd) field dominance, with the exception of DV-PAL, which uses Lower (Even).

This is generally not a problem with footage acquired from an NTSC or PAL camera, as it will already have been shot with the correct field dominance. The problem usually occurs with motion graphics and visual effects sequences because they have been created in software that can create both types of footage and has to be manually told which dominance it should use.

If you have been given footage that has the wrong field dominance, first try to obtain correct footage from the person who originally supplied it. If this is not possible, go to Effects > Video Filters > Video > Shift Fields to swap the fields around.

In some cases, Final Cut Pro can get confused and think that a file with the correct dominance is incorrect, so it automatically adds a Shift Fields filter when you import it. If you suspect that the file is actually correct, first check the clip for automatically-assigned filters and remove them.

Finally, it's worth mentioning that when you drag the first clip to a new sequence, Final Cut Pro 6 will ask you to change the sequence settings to match the clip if they differ. A lot of people click Yes without thinking, but taking a moment to check whether the clip in question does actually have the correct settings will save a lot of head-scratching later on.

I hope this article has given you ideas on how to avoid these problems because in a lot of cases, mistakes aren't made through ignorance but instead lack of time, lapses in concentration, tiredness, etc. That's why most of the steps in this article are very quick and easy ways of double-checking after you've already implemented corrections. These are important aspects to keep under control so it helps to have a range of defensive measures in place. When your job could potentially be on the line, you can't double-check often enough.

11-16-08 - New AppleCare articles

Apple just posted some new ProApp-related AppleCare articles.

Final Cut Pro / Express

Final Cut Pro: Choosing a Hard Disk - The disk that contains your computer's operating system is called the startup disk or boot disk. In addition to the operating system, the startup disk also stores your applications (such as Final Cut Pro), your application preferences, system settings, and documents. Because the files on the startup disk are your most critical data, maintaining the startup disk is vital. Because digital media (especially high data rate video) makes your disks work harder, you should use dedicated disks for capturing and playing back your digital video and other media files. Consider your media disks as storage units that work long, hard hours, while your startup disk keeps your system properly organized. If a disk is going to malfunction, it's better if your critical data is separate from your replaceable media files. Depending on what kind of computer you are using, you may be able to use internal and external hard disks to store your media files. Each has benefits and drawbacks.

This is a very detailed article with a lot of useful technical information about the required minimum seek times, spindle speeds, etc for Final Cut Pro. Well worth checking out.

Final Cut Express 2: How to Delete the Preference Files - Learn how to resolve issues caused by unusable preference files in Final Cut Express 2.

Final Cut Express HD 3.0: Configuration error when using with iMac G5 (iSight) and Power Mac G5 (Late 2005) - If you open Final Cut Express HD 3.0 on certain computers, you'll get a "Configuration Error" message that indicates that your computer is missing certain hardware or software, or possibly an AGP graphics card.

Final Cut Pro and Final Cut Express: Convert MP3 and AAC audio files for compatibility before importing - This document explains how to import MP3 and AAC-encoded audio files into Final Cut Pro 3, Final Cut Pro 4, and Final Cut Express.

Final Cut Express HD requires a Quartz Extreme AGP graphics card - To use Final Cut Express HD, you need a computer with an AGP graphics card that is capable of handling Quartz Extreme.

Final Cut Server

Final Cut Server: Unable to launch the specified application - In some cases the Final Cut Server client application may not open when you double-click the Final Cut Server.jnlp icon or Final Cut Server.app icon. This may happen after switching user accounts or restarting your computer from a volume other than the one you used to download the Java Web Start Final Cut Server client.

Soundtrack Pro

Soundtrack: How to Configure Digidesign Audio Devices - Learn how to use Digidesign audio devices with Apple's Soundtrack music application.

I guess they're talking about Soundtrack Pro here, not Soundtrack, as the original Soundtrack was discontinued 5 years ago.

Qmaster

Apple Qmaster: Optimizing cluster storage capacity - By default, the Apple Qmaster distributed processing system saves temporary process files in the /var/spool/qmaster directory on the cluster controller's startup disk. Computers in the cluster will access this location as needed. If you are processing large source media files that exceed the available storage space on the startup disk, you may run out of storage space on that disk.

Logic Pro / Express

Logic 8: How overlapping recordings are assigned to take folders - The Takes feature in Logic Pro/Express 8 is a powerful way to organize multiple recordings of a part in your projects. Here are some tips and explanations of what it will do in various situations.

Logic Express 8: Troubleshooting Basics - If Logic Express 8 isn't starting up properly or performing normally, try these basic troubleshooting steps to remedy the situation. Please note that these steps aren't exhaustive, and are not intended to cover any specific issue. They are fundamental, basic steps that are most effective in getting Logic Express 8 into good working order, and are the steps most often suggested by AppleCare Technical Support.

FCS Remover 2.0.2 released

We've just released FCS Remover 2.0.2. It's a maintenance release with a couple of minor changes.



Firstly, the Final Cut Studio and Final Cut Server presets now select Shared Files by default - some users were reporting Software Update listing Pro Application Updates after they'd uninstalled Final Cut Studio but this is because they had not also selected Shared Files. If you do want to maintain compatibility with existing ProApps on your system such as Logic and Shake, use the Maximum Compatibility preset.

We added a new preset for Compressor and Qmaster, as these are quite commonly reinstalled. There were also some minor interface tweaks.

Finally, some of you have been experiencing errors when you try to update using the automatic updater. That has been fixed in the latest version but if you have the updater problem you will need to update your old version manually here.

Using Compressor with multiple cores

Here's a quick tip that a lot of people still don't know about. So you've just bought that shiny new Mac Pro, you finish your Final Cut Project, export to Compressor and wait.... and wait... and wait. Hang on a second, that brand-new 8-core machine is only utilizing one core!

Welcome to the world of Final Cut Studio, which is completely unaware of multiple cores in your system. Hopefully this will change in future versions but in the meantime, here is a trick to using those cores in Compressor.

1. Go to System Preferences and open the Apple Qmaster section.



2. In the Setup tab, click Stop Sharing if Qmaster is already activated.



2. Select QuickCluster if it is not already selected.

3. Under Services, select the service marked Compressor and select the checkboxes for Share and Managed.

3. Then click Options for Selected Service.

4. Now you need to select the number of instances to use for the cluster. This is the number of copies Qmaster will spawn to compress the job, and is a question that's open to debate.



Apple's official advice is that the number of instances should be half the number of cores. So if you have a quad-core machine, you should select two cores and four if you have an 8-core machine.

However, newer Mac Pros (early 2009 onwards) and MacBook Pros (early 2010 onwards) support a feature called HyperThreading which allows each core to act as two separate "virtual cores", allowing two tasks to run simultaneously on a single core. So for these models you should match the instances to the number of cores - i.e. four instances for a quad-core and eight for an 8-core.

Some people have suggested setting the instances to the total number of cores (or virtual cores on the newer machines) minus one. I find that this depends on the format you are compressing. If you are compressing a "light" format like DV, you could probably get away with it. However, more processor-intensive formats like H.264 will need a lot more headroom. You would also need at least 1 GB of RAM per instance.

Another point to bear in mind is that Compressor needs to stitch the separate pieces of the file together once processing is complete. More instances mean more pieces to assemble, which adds to the time taken. Consequently, the time saved by increasing the number of cores may be offset by the increase in the time taken to assemble the final file. I would therefore recommend sticking with Apple's advice of half the number of cores for early Mac Pros and matching the number of cores for later models.

5. If you are using Shake. Maya or have any other command-line renderer set up with Qmaster, select the Rendering item in the list and click Options for Selected Service.

6. Click the + button and add as many "Local machines" as necessary (see step 4 for details), then click Ok.



7. Under the QuickCluster section, type a name for your new virtual cluster.

7. Click Start Sharing and close System Preferences.

8. In Final Cut Pro, export your sequence as a QuickTime movie. This is important. Do not choose File > Export > Compressor, as this will fail.

9. In Compressor, import the movie, set up your batch and click Submit.

10. Instead of "This machine", select the name of your new cluster in the Cluster list and click Submit. The movie clip will be processed by multiple cores in your machine.



This is called Virtual Clustering, and it is achieved by launching a new version of Compressor for every instance. This is much easier from the perspective of Compressor's programmers but it takes up more memory and is less efficient than if they were to implement true multi-core capabilities into the application.

So be aware that using this method will require considerably more memory than rendering on a single instance. Apple recommends 1 GB RAM per instance but again, this depends on the media you are transcoding to. If you set too many instances and don't have enough memory, your machine would slow down (or worse, crash) thus undoing the whole point of setting up the virtual clusters in the first place. For best results, follow the recommendations in Step 4.

See the article Speeding up Compressor for more tips on improving Compressor performance.

Update 2010-12-06: This forum thread has an interesting comparison between This Computer and a Quick Cluster with various instances. Results vary depending on the chosen codec but the fastest times seem to occur with roughly half the number of instances compared to cores. The data would also suggest that a Quick Cluster is more beneficial on long files than short ones.

RED introduces brand new DSMC system

Everyone's been talking about it. Today RED announced its redesigned Scarlet and Epic offerings, thought to be taken back to the drawing board due to the sudden competition from traditional SLR cameras such as the Canon 5D MkII.

At the core of RED's new offerings is the DSMC (Digital Stills and Motion Camera) system. You select the "brain" (sensor and body) of the camera and then mix and match components based on your requirements. You need never buy another whole camera again - just upgrade components as and when they are released.

In addition to the previously-announced Mysterium-X sensor capable of recording at 5K, they have developed Mysterium Monstro, which captures at up to 28K. To put things in perspective, IMAX footage is around 10K so that is almost 3x IMAX resolution! It can capture 261 megapixel (MP) still images too, which means that if you printed out an image at 300 dpi, it would cover approximately 77 square feet!

Epic "brains" come in large, rugged cases whereas Scarlet ones come in smaller and lighter cases designed for traveling. The "brains" available are:

Scarlet models

3K - up to 120 fps with lens
* 2/3" Mysterium-X
* Comes with fixed 8x lens
* This is the original Scarlet announced at NAB
* The original price was $3000 but price is now TBD so it could end up lower
* Captures stills at 4.9 MP
* Fall 2009

3K - up to 120 fps
* 2/3" Mysterium-X
* Mini-RED, C, B4 mounts
* Basically the original Scarlet with the ability to change lenses
* Captures stills at 4.9 MP
* $2,500
* Summer / Fall 2009

5K - up to 30 fps
* S35 Mysterium-X
* RED, PL, Canon, Nikon mounts
* Captures stills at 13.8 MP
* $7,000
* Spring/Summer 2009

6K - up to 30 fps
* FF35 Mysterium Monstro
* RED, Canon, Nikon mounts
* Captures stills at 24 MP
* $12,000
* Winter 2009

Epic models

5K - up to 100 fps
* S35 Mysterium-X
* RED, PL, Canon, Nikon mounts
* Captures stills at 13.8 MP
* $28,000
* Summer/Fall 2009

6K - up to 100 fps
* FF35 Mysterium Monstro
* RED, Canon, Nikon mounts
* Captures stills at 24 MP
* $35,000
* Winter 2009

9K - up to 50 fps
* 645 Mysterium Monstro
* RED, Medium Format, Mamiya mounts
* Captures stills at 65 MP
* $45,000
* Spring 2010

28K - up to 25 fps
* 617 Mysterium Monstro
* Linhof, Alpa mounts
* Captures stills at 261 MP (!)
* $55,000
* Spring 2010

But what on earth do you capture that amount of data to? Well, you have a choice of internal memory, special high-speed DSMC CF or SSD modules (most likely a ton of regular CFs or SSDs in a RAID 0 configuration) or, intriguingly, wireless or ethernet transfer. I'm guessing those last two won't be an option for larger resolutions but hopefully you will be able to send out a proxy version for previewing.

Oh, and you can also link two together for stereoscopic imaging which is unbelievably awesome. The image shows two Scarlets in stereoscopic configuration but it's not stated whether or not the Epics can do it too (particularly the huge 28K one). That'd be interesting to know.

The idea behind the camera is that you swap parts so you could buy a Scarlet and gradually work your way up to a higher model over time without having to re-purchase any extra equipment. This is perfectly possible but it is worth mentioning that some of the models have different lens mounts, and Mysterium-X lenses will not work very well with a Monstro as they are designed for a sensor that is considerably smaller.

The only downside is that Scarlet was originally scheduled for release in January 2009 (I forget when Epic was supposed to be released) so these dates have been pushed back. But I think we can all agree it will be worth it in the end.

Read more at RED's site.

How to reinstall Compressor and Qmaster

We recently released Compressor Repair, which aims to fix some of the most common problems with Compressor - but it can't help you if you've got missing or corrupted files. Sometimes a reinstall of Compressor and Qmaster is needed (although these steps apply to any software in the Suite). Here's how to do it properly.

1. Download FCS Remover and run it.

2. Select "Compressor and Qmaster Only" as the preset.



3. Click Remove and enter your admin password.



4. Restart your machine, and when it boots up again, empty your Trash.

5. Insert your Final Cut Pro or Logic DVD (I'm using Logic here), ctrl-click on "Install Logic Studio" or "Install Final Cut Studio" and select Show Original.



If you are running Final Cut Studio 3 (FCP 7), perform Step 6. If you are running Final Cut Studio 2 (FCP 6), skip to Step 7.



7. Run Compressor.pkg (if using Final Cut Studio 3) or Compressor.mpkg (if using Final Cut Studio 2 - note the extra "m").



8. When that finishes, run Qmaster.pkg (FCS 3) or Qmaster.mpkg (FCS 2 - again note the "m").



That's it! At this point, it is a good idea to update Final Cut Studio. Several users have reported that this method did not work until they had updated Compressor and Qmaster to the latest versions after reinstalling.

(Note: I've seen other people recommend Pacifist as a way of installing the files again once they've been removed. Pacifist is a great piece of software but if you make a mistake, it's possible to seriously screw things up unless you know what you're doing. I think this method is a lot safer and less susceptible to user error. However, if the above steps don't work for you, try Scott Simmons' Pacifist method here.)

Compressor Repair 1.0.1

I just got a bug report in from a user who stated that Compressor Repair would hang once he clicked Repair. I discovered this occurs if qmasterprefs is missing (which would also explain why Compressor wasn't working for him...). This is now fixed in version 1.0.1.

For the unaware, Compressor Repair is an application that is designed to fix the dreaded "unable to submit batch" error a lot of people have been getting with Apple's Compressor application. It can also fix "stuck" batches that won't progress and can also fix Compressor startup problems if you select the "Trash Preferences" checkbox.

We've been receiving a lot of feedback about this application - it's great to hear that it's been useful for a large number of people. Keep the feedback - good and bad - coming in as we always appreciate it.

Compressor Repair is completely free and is available here. Click here to see our other applications.