Showing posts with label website. Show all posts
Showing posts with label website. Show all posts

Wednesday, February 22, 2017

Tree Planter Training 12 - Planning Reforestation Activities

Although this blog is predominantly focused on my music and DJ’ing career, I also want to share some information about my other career:  Canadian Reforestation.

The information in this post is part of a training series from the Replant.ca website.  More information can be found at this link:



I’ll put the text and audio download link from this training module below, but let’s start with the YouTube video for the module:




Section 12 - “The Planting Prescription”

In this section, we're going to learn some information that you'll hear which relates to the Planting Prescription.  You may never see a prescription on paper, but the forester will give you certain information, either directly or through your crew foreman, which guides your planting style by clarifying certain specifications.  Most of this information will be given to you at a meeting that's called a pre-work conference, and then you'll get additional feedback on the blocks as various people are checking the quality of your planted trees.


The Pre-Work Conference

At the start of a contract, the planters need to be told exactly what requirements and preferences are in effect for the current contract.  These requirements and preferences are usually referred to as the specs, which is short for specifications.  The forester will often hold a pre-work conference with the crew to outline the specs.  In some cases, the foresters prefer not to try to communicate this information with such a large group of people at one time, so instead they'll have a pre-contract meeting with the staff and management of the company, to go over the specs in detail with the camp supervisor, the foremen, and the quality checkers or tree runners.  The staff are then expected to have a subsequent meeting with the planters to pass on this information, and to ensure compliance with the client's expectations.  Part of your job as a planter is to pay attention to the planting requirements, and understand what is being asked of you.


The Silviculture Prescription & the Planting Prescription

The silviculture prescription and the planting prescription are not the same thing.  They are two separate site-specific plans.  The silviculture prescription is an overall document that describes the forest management objectives for an area.  It also covers the methods for harvesting the existing stand.  If you do a google search for "silviculture prescription guidebook bc" you'll find a detailed document produced by the Ministry of Forests, Lands and Natural Resource Operations, showing exactly what is included in a comprehensive Silviculture Prescription document.

The planting prescription is a specific part of the overall silviculture prescription plan that focuses on just the planting specs.  Some of the specs in this plan will relate to things such as screefing, obstacle planting, specific microsite requirements, density specs, quality specs, fertilization, browse protection, and more.  Let's look at these in more detail.

Screefing involves using your shovel or boot to remove unwanted surface material from the planting location.  Your instructor and your foremen will both demonstrate different ways to do this, and will monitor your screefing techniques to make sure you can get the minimum amount of work done quickly and efficiently with minimum risk of long-term damage to your body.  In general, boot screefing is faster and easier on your body.  Shovel screefing is harder on the arms and shoulders, but does a better job.  In tough grass mat, shovel screefing may be your only option.  Screefing is not required on all contracts, and the size and depth of screefing requirements can also vary.

Obstacle Planting involves making use of stumps, slash, or other obstacles to protect seedlings from damage from things like cattle or snow.

Microsite Selection is important to maximize the potential growth of a seedling.  You'll be expected to select microsites that minimize the impact of limiting factors and maximize seedling establishment and growth.  For example, in some regions, you might be asked to plant trees in the bottom of trenches, in order to take advantage of moisture in drought-prone areas.  In other regions, you might be asked to plant trees at the hinge or higher in trenches, to take advantage of higher temperatures.

Density Specifications vary from contract to contract, and sometimes from block to block.  For example, a forester might say that the spruce trees in one area have exhibited slightly higher mortality than pine in the past couple of years, so you might be told to plant spruce sections at a density of 1800 stems/Ha and pine sections at a density of 1600 stems/Ha.  We'll talk about Density in much more detail in another section.

Quality Specifications also vary significantly from contract to contract, although quality expectations are generally very consistent on all blocks within a single contract.  There's a common quality assessment system called the FS 704 system, which is in common use throughout much of British Columbia.  Within that system, there can be variations.  For example, on one contract, a forester may say that he/she would prefer to see all trees slightly deep, with pine trees a maximum of two fingers of dirt above the plug, and spruce trees even deeper with a maximum of four fingers of dirt above the plug.  We'll talk about Quality in much more detail in another section.


Potential Non-Planting Components

Some seedlings are fertilized at the time of planting by having a "tea bag" package full of fertilizer buried in the ground a few inches away from the seedling.  This happens especially where soil nutrients are limiting, or in areas where the cost to establish a seedling is so high that every possible growth advantage is worth the expense involved in providing the advantage.  Trees are not commonly fertilized in northern BC, but it happens more frequently in the southern Interior, and it's very common on the coast.  The best place for a tea-bag is usually about three inches from the seedling, ie. on the other side of the shovel hole, and buried just barely below the surface.  You cannot let the tea-bag drop down into the shovel hole.  You get paid extra for having to fertilize each tree.  First-year planters don't typically work on jobs where fertilizing is necessary.  Tea-bags are often called ferts.

Browse Protection involves putting up structures or equipment to protect planted seedlings from being eaten by animals.  Certain species, especially pine and cedar, are an appetizing snack for certain animals like deer and elk, and sometimes rabbits.  Planters may be asked to put up three or four foot high "cones" over a freshly planted tree, which are then attached to a stake driven into the ground beside the tree to hold them in place.  These cones are left in place for a few years until the tree has grown to the point where it's not very susceptible to damage anymore.  Coning isn't a common activity for first-year planters to be involved in, since it's most commonly done on the coast, or on technically challenging ground in the Southern Interior.  In those locations, the cost of planting a tree is so high that it's worthwhile to invest extra money in protecting the seedlings.  In the northern Interior, it's easier just to plant a higher density of trees and assume that a few will get eaten.


Block Boundaries

For a first-year planter, knowing where the planting area ends and the forest begins is sometimes rather difficult.  The exact boundaries can be pretty vague.  There won't be a fence or markers to guide you.  The boundary will almost never be a straight line.  It'll curve in and out, and you may have to interpret vague clues to determine if you've reached the end of the block yet.

There are problems if you can't identify the block boundary properly.  If you leave holes within a planting area, it increases the licensee's risk of non-compliance.  If you plant outside of the unit boundaries, where there's no responsibility and perhaps no permission to plant, you'll waste energy and money.  This is called a trespass.  This may have a negative impact on your company's reputation, and can sometimes lead to a fine for your company.

Your foreman or the forester will try to show you where the boundaries are located.  Pay close attention.  Often, there may be some sporadic symbols or markings to help guide the planters, such as old ribbon, paint, or rigid aluminum tags.  In some cases, the edges of the blocks are extremely clear and obvious, and planters don't need help trying to figure out where the block boundary is located.  In other cases, a forester will take the time to hang flagging tape every twenty feet or so, to help guide the planters.

Block boundaries often follow natural features such as roads, timber edges, and creeks.  Sometimes there's an adjacent piece that has also been cut but which is a different block, and it's very difficult to figure out the boundary.  In those cases, it's expected that someone should put up a flag line of ribbon to help the planters stay inside the correct boundaries.  Your foreman should have good map-reading skills, and will probably be using a GPS or a geo-referenced map on a mobile device, to help ensure that the crew understands the block boundaries.


Mixing Species

Species mixes are common as they provide diversity and some protection from environmental concerns including global warming.  They also help to protect against many forest health concerns including root rots, mistletoes, rusts, and beetles.  You'll need to bag up with the appropriate species mix and know the best microsites for each individual species.  For example, in wetter sites, spruce is more suitable than Douglas fir.

Professional planters with many years of experience doing coastal planting are often faced with very complex and challenging species mixes on their pieces.  Every planter's piece can also be slightly different on the coast.  For example, one coastal piece might require something like this:

"40% western red cedar, 30% western hemlock, 25% Douglas fir, and 5% Sitka spruce.  The cedar must be the only species present in salal patches.  The hemlock can be planted in pure organics, and can be mixed with cedar in mineral/organic areas.  The Douglas fir can only be planted in areas of pure mineral soil, and only on the upper two-third of the piece.  The spruce should be spread evenly throughout the lowest 20 meters of the piece in a mix with the cedar."

When you're given specs like this, it can be pretty confusing.  However, a first-year planter in the Interior won't be faced with any prescriptions that are even remotely as complex as the example that I just gave.  You'll probably be planting monocultures more often than not.  A mix of pine and spruce is also fairly common, but at least that's only two species.  Planting three species simultaneously would be relatively rare in northern BC.

When you have to plant a mix of pine and spruce, there will be two approaches.  One is a percentage mix, and the other is a targeted mix.  Even with a targeted mix your final result will still probably need to consist of specific percentages, but the difference in general is that a percentage mix is mixed consistently overall, whereas a targeted mix varies depending on which part of your piece you're planting at the moment.  Let's go into more detail, because this is confusing.  In these examples, I'm going to use a prescription for the block of 75% pine and 25% spruce.  Furthermore, I'm going to say that for some reason, your specific piece actually has to meet those same requirements exactly.

In the Percentage Mix, you will need to plant 75% pine and 25% spruce everywhere in your piece.  Let's say that your target density is eight trees per plot.  I'll explain this in more detail in the section about density.  Since 75% of eight trees is six, and 25% of eight trees is two, all of your plots should have six pine trees and two spruce trees each.  The forester expects to see both species in every part of your piece, consistently, no matter where he/she walks.  If you have a plot with five spruce and three pine, the forester will frown, because your ratio is incorrect.  You can't get away with broad mixes, which is what would happen if you planted three boxes of straight pine on one side of the piece then planted a box of straight spruce on the other side.  It needs to be mixed up on a really micro level.  This type of approach is very common on blocks where the ground is homogenous and consistent, no matter where you are on the block.

In the Targeted Mix, the expectation is that your piece will have different types of microsites, and the forester will want you to prioritize the correct species for each individual microsite.  So for example, if you have several gullies or low draws or swampy areas in your piece, you'll be expected to put spruce trees into all those areas.  The pine will go everywhere else.  Quite often, you'll still have to try to respect the overall mix, because that's how many trees got ordered.  If 10% of the piece is wet and should definitely take spruce, and 10% is dry and should definitely take pine, and the other 80% could take either species, you'll want to put straight spruce into the wet areas, straight pine in the dry areas, and the rest of your piece that can handle either species will get a mix containing the other 15% of the spruce and the other 65% of the pine.

On your first run, you might not know what you'll find, so you might take three quarters pine in your bags and one quarter spruce, and just pull out the proper trees as you go, depending on what you encounter.  But you might discover on that first run that the entire right side of your piece is a swamp.  So you might decide to take 100% spruce with you on your second and third runs, and get the swamp finished up first, so you're left with straight pine in drier ground for the rest of your bag-ups for the rest of the day.  You might also decide to spread the pain out throughout the day, so you take mostly pine and a bit of spruce on each run, and just chip away at a bit of the swamp during each bag-up.  Either approach is fine, as long as the end result is that you get the right trees in the right places.

Some foresters will tell you to use a combination of percentage mixing and targeted mixing.  This is probably the best approach, and is fairly common.  You, as a planter, get to do what makes the most sense to you.  If you feel that the lowest quarter of your piece has the most moisture, you can plant all the spruce down there and tell the forester that's what you decided was best.  If you think the moisture content is pretty consistent throughout your piece, then you can just do a random percentage mix throughout your piece.  As long as you can justify the rationale that you used to make your decisions, the forester will be happy.  In other words, you'd end up doing what you think is best for the trees, without so many strict guidelines.

If you're still uncertain about what the best decisions are for picking spots for various species in your piece, ask your foreman or trainer.  He or she will be glad to help out.




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Here’s an Audio version of this material, in case you want to listen while you’re driving, running, at work, or otherwise unable to read or watch video:




Click on the down-arrow icon in the upper right corner of the SoundCloud widget to download the mp3.


Once again, for further information about this series of tree planter training information, visit:



I encourage you to share this information with anyone else who might be interested.  Thanks for your interest and support!

-          Jonathan “Scooter” Clark





Sunday, January 22, 2017

The Origins of "DJ Bolivia"

I'm frequently asked why I'm referred to as "DJ Bolivia."  After all, I'm from Canada, not from Bolivia.   Here's the full story, for those who are curious.

It all began in approximately 2001.  It's hard to figure out exact dates, because most of the websites that I use now didn't exist at the time.  Back then, even sites that we now think of as the OG's of the internet just didn't exist.  In 2001, the internet was still a pretty wild place, without a lot of robust infrastructure.  YouTube, Facebook, Instagram, and Twitter hadn't been invented yet.  The only major sites that I can remember from back then were MySpace, AOL, eBay, and PayPal.  Amazon existed, but for most of us, the thought of buying something on the internet was revolutionary (and dangerous).  The popular apps that I can remember from back then were things like Usenet, ICQ, mIRC, WinAmp, and Napster.

 



One night, I was in my studio, having drinks with two of my good friends:  Drew Dudley and Marc Carnes.  We were listening to music, probably trying to sort out things that needed to be done for Conduct Becoming, and having some Jack Daniels & Corona on the side.

That particular night, we were talking about some potential upcoming shows for Marc. Marc was a well-known DJ in the Maritimes at that point, and had played at a number of parties in Halifax, Moncton, and Saint John.  We were discussing how to get Marc booked at more shows, because it was very difficult at the time to get booked as a DJ.  Marc was working full-time and was quite busy, so he wasn't sure that he had much of a future in DJ'ing.  Trying to self-promote or stand out from the crowd was very challenging and time-consuming.  He was a great DJ, but the promotional side of the equation was the problem.  My suggestion was to build an online presence.

The next three hours turned into a free-wheeling discussion about how that could be done:  The pros and cons of setting up a website, the technical challenges involved, and how to promote.  I was saying it would be easy, Drew was looking at me with a raised eyebrow wondering exactly how I would go about everything, and Marc was playing the Devil's Advocate.

At some point in the argument, I said something along the lines of, "I bet that if you gave me five years, I could turn ANYONE with some basic talent into a world-famous international DJ and recognized name brand."  This, of course, was a bold statement.  Drew agreed to take on my bet, and we decided that it would basically be a gentleman's wager, but we'd put a bottle of Jack Daniels on the line for the winner.

Marc wasn't convinced that he wanted to be a guinea pig for this project, so I said that I would be the subject of the bet.  I had already been DJ'ing for a number of years, but mostly at small parties around the university campus, or at the local campus Pub.  I was able to beat-mix vinyl records, although my skills were only at a hobby level at that point.  However, I had the equipment and records, and I knew how to hand-code websites in HTML.  My tree planting website, Replant.ca, had already been online for a couple years at that point, so I was pretty confident that what I didn't know, I could figure out.  I was the manager of the local campus nightclub at this point, and I also did all the updates and coding maintenance on that website.

Once the bet had been established, my first challenge was what to use as a stage name.  I didn't want to use my own name.  I'm not sure why.  I think it was because I didn't want my name associated with this endeavour, in case it turned out to be a complete disaster.  In retrospect, this was a terrible decision.  I should have used my own name.  Incidentally, I've considered changing my stage name to my real name at several points in the last few years, but it would be difficult to do that, since my web presence and online real estate is already so well established.

So I needed a stage name, and the bourbon & beer helped inspire me to take the process very seriously.  When I had named my dog (Dakota) several years before, I had gone through the same sort of challenge.  With Dakota, I had gone through several sets of lists, coming up with different ideas.  For instance, I went through a number of international cities.  Baghad was a strong choice for a while (thinking back to the Gulf War) but then I decided that it sounded too similar to "Bad Dog" and the dog might develop an inferiority complex.  With Dakota, I eventually moved from city names to US states, and when I got to North Dakota, I realized that Dakota was a great name.

Using the same concept that I had taken to figure out the dog's name, we eventually started going through countries in South America.  When we got to Bolivia, we thought, "Hey, this might work."

Before we had started considering various names, we had come up with a short list of qualifications.  This was that list:
1.  It had to be a name/word that was fairly well known to English speakers.
2.  It should also be a name/word that would be recognizable to Spanish speakers, if possible, since I spoke basic Spanish.  This requirement was designed to increase global marketability.
3.  The stage name had to be a single word, not a pair or words or phrase.  The logic behind this rule was that a lot of famous musicians were known by a single name:  Prince, Madonna, Bono, Cher, Sting, etc.
4.  The name had to roll off the tongue, and sound easy to produce.  It had to sound relatively cool.
5.  A good domain name had to be available, not a URL that was already taken.
6.  Most importantly, it had to be a stage name that did not appear to be in use yet.  I didn't want to be confused with an existing performer, nor to have an existing performer serve me a cease-and-desist order to stop using the name.  I had to make sure that I'd be able to put enough information on the internet to establish a "first use" precedent, to protect my stage name.

We ran "Bolivia" through that list of six rules, and it seemed to fit perfectly.  I ran into some minor problems when I tried to check for domain availability.  It's not possible to register any country's name as a domain name, so "bolivia.com" was not available.  The builders of the internet were smart like that, thinking about preventing domain-squatting.  After some discussion, we decided that "djbolivia.com" was adequate, because at least it clarified the purpose of the site.

Most importantly, at that time, there wasn't anybody using "DJ Bolivia" that I could find when I did searches on Google or Yahoo.  Incidentally, a year or so later, I discovered a "DJ Bolivia" from California who had an account on MySpace before I did, but my main website was established before his MySpace account, so I didn't worry about this "imposter."

We tried to think of any other reason why Bolivia wouldn't be a good stage name.  I realized that Bolivia was a country that I really wanted to visit, and that I probably wouldn't find a better choice.  That decided it.  I said, "It's official.  I have five years, and I'm going to win this bet."

So basically, that's the entire story of where "DJ Bolivia" came from.  I started working on a website almost immediately.  I also started practicing more diligently, with at least 2-3 hours on the decks several nights each week.  And I tried to figure out ways to distinguish myself from other DJ's.

My online presence really made a difference.  All of this happened at a perfect time.  The internet was just starting to explode in growth.  I decided to record some demo mixes and try to share them online.  At the time, there were literally NO websites or services that allowed a person to do this.  I did some research about the legality of it all, and discovered that under Canadian law, it seemed to be legal to share mixes if three conditions were met:

1.  The mix had to be free, non-commercial, and not creating any monetary gain for myself.

2.  There could be no full and complete isolated commercial songs in the download.  By mixing at least 60 seconds at the beginning or end of each song with another song, I was able to meet that rule.

3.  Any online distribution was not allowed to have a negative impact upon the distribution or sale of the original work.  This is a complicated one, but essentially, nobody was going to refrain from buying a vinyl copy of any of the individual tracks on my demo mixes simply because they had a digital copy of my mix available.  Remember, at the time, it was pretty much impossible to even buy digital copies of music.  The only service that I think was trying to go into legitimate digital music for online sales was MP3.com - which went bankrupt.  They were ahead of their time, unfortunately.

Putting demo mixes on my site was a game-changer.  At the time, almost nobody had "fast" internet.  I had just gotten one of the very first ADSL lines in New Brunswick a couple years before that.  Cable and ADSL were really only being introduced to a wider public in Atlantic Canada right around that time, and throughout the early years of my website, the vast majority of Canadians went online using dialup, if they were able to go online at all.  To download one of my earlier mixes, encoded as an MP3 that was only about 56 megabytes in size (128 kbps bit rate) often took people an entire hour hour.

At that point, almost nobody in the world had a site where it was legally possible to download a DJ mix.  My own site wasn't quite a pioneer in that respect, but it was  definitely in the "very early adopter" category.  I built an audience of fans from around the world, just because almost nobody else was doing what I was doing.  Some of those early fans (people like Dan Fernandez at MicroSoft, tProphet from 2600/Defcon, and half a dozen others) are still friends today.  They've all helped my hobby DJ'ing career in various and sometimes unintended ways.

So that's the full story about the origins of "DJ Bolivia" and of my website.  Drew graciously conceded defeat in our gentleman's bet after some gigs that I played at the San Jose Game Developer's Conference and a couple venues in Japan, even though that was technically more like six years after I had built my website, not five.


I'll leave you with a graphic that shows what the main page of my website first looked like back in 2002.  What's funny is that this is an image file that is just 70 kilobytes in size, but at the time, that took 15-20 seconds to display on a dialup connection!





I'm Jonathan Clark, known online as DJ Bolivia.  Do you want to learn more about DJ'ing and music production?  If so, visit:



If you happen to enjoy techno tracks, most of my tracks are available as free downloads from this link:



Thanks so much for visit, and for your support!  I really appreciate the fan base that I've been able to build up over the years.

Also, if you want to visit any of my other sites, here are a few links:
    YouTube:  youtube.com/djbolivia
    SoundCloud:  soundcloud.com/djbolivia
    Blogger:  djbolivia.blogspot.com
    Main Site:  www.djbolivia.ca