If we all tell adobe we need the ink magnager it will pop up there, in some version ;P

What is your viewing environment? 5000K is prepress lighting 6500 K is daylight witha bias of blue.
Having said that what is your working RGB. Adobe RGB has it's whitepoint at 6500 K and ECI has it's white point at 5000 K.

So technically the Ideal is 5000K, but the defacto ends up as 6500, which is easier to reach as monitors tend to be "cooler" than standard lighting.

 KWL if you get a good week maybe you need to get disk keeper or something to defrag at regular schedule, like every friday.

Trapping is memmory and disk intensive if your harware is getting old you may have failiures here. The cheapest upgrade you can do is fresh disks. If that is too expensive, make sure you do disk optimise.
As design jobs are more complex today you will find that "new wine in old wine skinns" can burst your workflow.
If you're stuck with what you got, look at using trap zones, more work but it means you tel the rip what zones are important... i'ts how to stay alive if you have aggressive press men.

One note on the subject, sort of half off topic but maybe some of you are iinterested anyway.

If you import an eps or PDF with the wrong definition you will have to ridd all files with that colour before you can redefine it.
Say you import a file where the customer has a spotcolour "RED" but the process definition is green. All art with the spot colour "RED" will be green, irrespective if they are red green or yellow, whatever.

It will be less apparent if you import a document that has had incorrect colourmanagement. ie Pantone 116 C  with contaminations of cyan and black in the first placed file.
Place another 20 files and you will have fun trying to be the detective. You see the definition is wrong, but it is locked and you cannot edit it. 

Sorry to leave you unanswered, yes that is the way. If you have the Sherpa proofer mark you can confirm that colourmanagement is off. Visually checking that pure C M Y K are pure is also an extra check.

Don't know if I'm late (lost my password) but her is my 2 1/2 cents.
We had that kind of streaks. They go along the path of the laser, they are white on a negative film this means that the laser is skipping one or more revolutions.
Check that the film is not scratcked, it may be crystalisations of chemistry scratching the emulsion, crystals can form at different places so the scratch may move.
One more thing on the physical side is if your roller coggs are worn causing the flim to move jerkily and that may cause the streaks to come and go.

Possible electronic sources are as said above the cable,
but there are other possible factors. A temporary drop in power (do you have a power stabiliser).
Or had problems with a hard disk on our printdrive causing dropouts.

The question is not if Adobe supports it.
The questions is what works. Try things even if they're not supported, because sooner or later somone else wil try it and then we need to tell them it won't work, or they can circumvent the problem in this way...

If Adobe did support it then we didn't need these forums to tell us how to do the dirty work. The unsupported tricks of the trade that we need to know to get the job done.
I think Adobe does appreciate this, even if officially they can't, because without us prepress people helping eachother cheat the systems there would be alot more frustrated designers flooding Adobe support. After all you will find that the prepress staf in various service bureaus are the first line of defence Adobe has, many users would rather talk to someone they know than initiate a carousell of "for technical suppoprt press 1..."
Please don't take my practical approach as a personal crusade against you Leonard, not in this nor in other fora, it is allways good to know what the official standpoints are. And you add a valuable point of view. If we all just agreed the discussions would go flat.

Is the Apogee servers on the same domain?

If you are using DHCP then your macs don't have fixed IP? I think the Agfa system tries to find out who is the client by IP's and so I would assume fixed IP's are  to be prefered... though I have had both. I use work group and not domain.

TCP/IP is the network protocol, but you can mount a disk by SMP or AFP, we found SMB is more stable (on a windows server the AFP can lagg a bit, ie slow updates) On monday I'll be back at work and can test Apogee with Acrobat 9.

back in the old days I had somone fax a floppy disk ;P

Mac has the advantage of being able to have multiple Acrobats. I have Acrobat 7 as the fixup for Apogee 4 (you can set PDF viewer in Apogge and it doesn't have to be system default), but have 8, havent tried 9 with Apogee yet ;P
If I suspect problems checking in checking out, I save it in hotfolder.

Network issues are the most common... do you use DNS, IP or name? You are on the same windows work group (even mac needs to set that)? Do you connect with SMB? 

The biggest problem is that it's too smooth. As speed increases the risk is that a final look on the plate isn't done. The press operator getts spoilt and if you don't have the CIP file ready he doesn't know what to do :tongue:
Using Apogee and a Ryobi press had some issues but more to do with Apogee outputting plates if you chose export to InkDrive.
We done reruns off gummed plates and run over 200k runs on the plates. Had in some instances a corona problem (ring round raster point, making wierd dotgain of over 5% 1-2% ink coverage) after dry time on work and turn jobs, a clean run and the plates were printable.
We also have a buildup of foam in our solution, but unsure if it is a fine tuning of the solution draining or the gumming that is mixed with solution.

Pros– very stable. No chemicalls and if you don't have time to clean when you ought to just top up the gum with water :wink: (no developer)

The article was a really wierd one, I mean the whole Idea of going back and forth between colour spaces like that, and anyway BPC doesn't work when using perceptual intent (the screen dumps were mainly showing BPC and perceptual rendering ). I would never use BPC for proofing either as on a proof I want to simulate the printed result and so I would want Absolute rendering anyway. So the article seems more like a joke, cept it was too booring.

As I understand Black point it is to be able to get all the advantages of Relative conversion, but still compensate for the dynamic range of the output device in much a similar way to perceptual rendering.

The reason I brought it up has to do with the PDF print engine, and moving to PDFx4 workflows. An image proofed without BPC ana them printed with BPC would look quite different from proof to print, the same goes the other way.

Incedentally be interesting to know if you are using the APPE (Adobe PDF Print Engine)

A whole discussion about CMS, though most of it seemed to deal with proofers, and not a mention of Black Point Compensation, or Device links. Are those things in other parts of the forum... still finding my way around. Would have though the CMM used, rendering intent and if BCP is enabled would be basic parameters before comparing CMM output.

How does one choose between preserved hue and preserved value? The yellows going "out of gamut" lime green really bugg me especially in the cheeze, wanted to add adjustment layer to fix them all ;P. Tough choices, really interested to find out what the experiment was to find out. I assume it was a test of calibrated versus uncalibrated as well as different rendering intents, to see if we were more sensitive to hue shifts, shadows highlights etc. wouldn't be surprised if there were trick questions where we would have different choice ot same decision depending on if we saw it after a shadow picture or a highlight picture.

Will you publish a link to the results here?