Re: Makes sense
Cask strength Laphroig might do it..
31 posts • joined 11 Mar 2014
A few years ago (just after privatisation) I got a wee job counting computers for a Scottish power supplier. They seemed to have lost their entire IT asset register.
Anyway, I arrived at a small engineering station on South Uist, took a note of the ports on the one PC they had and was about to leave when a crew arrived from repairing overhead cables, laughing as they came in, stinking of burnt mutton.
They had just removed a sheep that had blown off the hill onto the overhead cables.
Apparently it wasn't that unusual in winter.
As the wind had got up again, my flight back was cancelled so I booked into a local hotel. I arrived and was about to get out of the car when the barman ran out and shouted at me to turn the car around. I did as he suggested and found I couldn't open the driver's door. I climbed out the other side into a blast of wind that nearly took me off my feet. He told me he had recognised the hire-company number plate and new the insurance didn't cover doors being ripped off by the wind (something that had happened to another guest the previous week).
I loved camping in the Outer Hebrides last year - but wouldn't want to do it in winter.
I used to love the annual declaration of independence by the traders of Walcott Street in Bath.
Proudly carrying my passport, I would get wonderfully pissed on fantastic ale at the Bell's open-air bar, listening to bands and, later on in the day, watching people suck balloons until they walked into walls laughing.
That was when the Hat and Feather was a real (if disreputable) music pub instead of a wine bar/restaurant.
I'm getting old...
Back in the dim and distant past (1980s) I started working in recording studios in London. The first thing that was drummed into me was not to take any cassette copies of anything - on pain of losing your job.
Of course no-one else took a blind bit of notice but I'd had the fear put in me.
If I was rewiring Trident studios copy room now and the masters of David Bowie's 70's recordings were lying in a box, I would take copies.
At the time I just put the quarter inch tapes on and played them full blast all night while wielding the soldering iron.
30 cassette machines and I didn't make one copy....
I must say that, working in the eighties, there wasn't that much I wanted to keep. Soft Cell, Tears for Fears and Frankie Goes to Hollywood didn't excite me much but there was much worse (Einstürzende Neubauten springs to mind) out there.
Reminds me of checking the studio fault book in the morning to find "sounds funny on the right hand side" with the desk in mid 72ch mix connected to two 24tr analogue machines and one 32 digital (tape) machine and every patchcord in use on the audio patchbay and two additional racks of outboard plugged in.
I'm just glad the buggers weren't mixing in quad. (They were also using the Cadac in studio 2 to submix the drums and feeding back a stero pair to the SSL).
It was a little frustrating. It turned out to be a duff patchcord on a plate return.
And all for a Slade album. (Thank you Roy Thomas Baker)
Share trading and bitcoin trading are both just forms of gambling - one the establishment approve of and one it doesn't.
I was angry enough about The Names being bailed out when Lloyds of London had a bad year (after years of raking in profits), but the bankers continuing to get bonuses after costing the taxpayers a fortune is beyond satire.
I certainly have no sympathy for anyone who loses their shirt playing around in the cryptocurrency markets.
(Pint icon 'cos I get thirsty after a wee rant)
The first year I helped out with the tape-store clear out at a studio in north London, I just took one side off the reels and let the tape unwind into bin bags.
Spending the next morning collecting lengths of 2 inch tape that stretched the length of Highbury New Park from tree to tree taught me that cutting the tape off the reels was the way to go.
There is a story of a British hi-fi manufacturer who sent their quadraphonic decoder to Pink Floyd to try out in their studio.
They sent it back with a 4-track recording of the unit being dropped from 20 feet on to a concrete floor with a note saying "this is what quad should sound like".
Mind you they had a cheek: the quad version of Dark Side of the Moon cost more than the two-track stereo version but, early on anyway, the only difference was the album sleeve (same pressing number).
That was in the days that the BBC trained its own engineers and technicians.
Even buying audio mixing consoles, they would ask for alterations in the circuits and get the manufacturers to produce to their spec (see SSL E series schematics from the eighties), even if it was only an additional resistor here or there.
I wonder how many freelancers and contractors they use now to cover what once was done in-house.
When I worked at Wessex Studios in London in the eighties we cleared out our tape store once a year. We didn't wipe the tape and resell it as it had already been paid for.
The first year I just took the sides off the reels and let them unwind into bin bags. I spent the next day picking the tape out of the trees all along Highbury New Park (a good half mile) due to the antics of a couple of the local intelligentsia.
The second year I used a splicing blade to cut the tape from the reels. You can't get as much fun from 6" lengths of tape.
I did find all the "Never Mind the Bollocks" masters in the attic, but they had a bit of masking tape round them stating that they were being kept for the court (the Sex Pistols were fighting Virgin at the time). I assume Matrix got them as they were not claimed by the time Chrysalis sold Wessex.
I wish I'd nicked them along with the Reg Dwight demos...
And I remember several bands sampling (from vinyl) the snare with the gated (backward) reverb, using an RMX15-80 (complete with the noise they produced).
That sound must have been used on a hell of a lot of tracks in early/mid 80s. It didn't seem to improve the music...
I used to work for recording studios in and around London in the eighties.
Cleaning the console faders in the mix room at Trident every month would give me at least a joint's worth out of every 8 faders or I would feel cheated (the amount of white powder was astounding after some sessions).
The best call I had to the mix room was a rhythmic "clonk" happening when the 24tr A80 was in play. I pulled the top off the tach idler and found the previous client had stashed a quarter and forgotten to take it with him - it was falling over every time the idler rotated.
The worst call was at Jacob's in Farnham. The desk in studio 2 had developed sticky group faders. I didn't think about it much and was happily cleaning the faders when I overheard what Francis Rossi had been doing with his girlfriend in the control room the previous night. I told them they could clean their own sodding faders next time.
I had an interview at an English university for an AV Tech job. The head of dept. and the head technician seemed to like me but the dick from HR didn't.
"You did very well at school. What happened" was what he came out with. I was pissed off at him so I told the truth: I discovered booze and drugs. (I did point out that more then thirty years had passed and I didn't have any long term problems).
I was offered the job by phone before I got home and the HR person was "let go" not long afterwards
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