This is the fun part, because no project like this is much good without the help of a number of people! Dan Pearl provided early encouragement, the figures used in key places, and perceptive editorial comments. Jay Ungar and Molly Mason were the first ones to trust me with a big sound job, and encourage me just by existing. Paul Prestopino and Walter Lenk helped me get early versions of the booklet to meet the standards of top audio professionals. George Marshall reviewed it from the viewpoint of an actively touring caller/musician, and was also incredibly supportive in my apprenticeship. Brad Foster and CDSS encouraged me to pursue this at a fairly serious level. Ted Nadeau at my former day job was information-organization-formatting guru. Jenny Kilgore gave me professional copy-editing advice, although I continued to play fast and loose with English when needed to make the info fit, and insist on defying standard English style's ridiculous conventions regarding nesting punctuation within quotes.

All of these people were a great help, but they all find bones to pick with elements of the resulting text, so please reserve any negative feedback for me!

Finally, Jan Drechsler, to whom I was married during the formative years of this document, put up with all the nonsense that goes on when you do a project like this, made significant improvements in it, and was a true helpmate.