In article , Dave Plowman (News)
wrote:


And just who uses a 'pocket watch' anyway? ;-)

Erm... I do. :-) ...although to be more precise, I use a 'wris****ch' I
keep in the top pocket of my shirt. Do this because I find having a
watch+strap in contact with my skin makes the skin red and sore.

I'd prefer either a small pocke****ch - or a version of the 'nurse's watch'
that hangs upside-down from the front of your clothing. But never seen
anything like this I'd choose in a shop.

Slainte,

Jim

--
Please use the address on the audiomisc page if you wish to email me.
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Armstrong Audio http://www.audiomisc.co.uk/Armstrong/armstrong.html
Audio Misc http://www.audiomisc.co.uk/index.html

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
I have two "ten year watches" and more pairs of gold and silver
presentation cufflinks than I can shake a stick at. I asked if
I might return the second watch after the presentation, and
exchange it for a pocket watch with a sweep/ stop second
hand which to me was much more useful.

How on earth have you managed your job without possessing a stopwatch?

Erm. I can't fnd a post where I say I had never possessed a stop
watch.

So why want another one?

It was a better alternative to yet another wris****ch.

I'd doubt you could find a pocket watch suitable
for a 'presentation' with stop watch facilities that would be anything
like as good as a cheap dedicated stopwatch.

Purely academic really, as good consoles have TC readout
as a part of the automation:-)

And just who uses a 'pocket watch' anyway? ;-)

Anyone with a 3-piece Gieves and Hawkes suit:-)

Iain

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
Well, I work in TV production where virtually everyone is free-lance,
and the directive is enforced there. 11 hours (plus travelling) is
more than enough for anyone.


There are recording projects that go on, round the clock for
many weeks, with those involved being resident at the studio.
- so artists can work at any hour they choose. The recording
staff have to be available.

But you were talking about travelling to work at a certain time.

That's correct, standard projects of three/ four sessions the first of which
starts at 0900 (so the crew have to start the studio set up at 0700
latest) The last session finishes in the early hours with about 1.5hrs to
strip down.

Every project is different. Some go on for many weeks at a time
with block bookings.

If staff have to be available 24/7, there will have to be either a shift
pattern or they too live on the premises.

No shifts. The artists usually want the continuity of the same
production and recording personel.

You seem to think your industry unique. But plenty industries work round
the clock and manage that without silly hours.

They do indeed, by shift work. But in music studios
a producer, engineer, 2E or assistant is signed to a
project and expected to see it through.

Those who don't have the dedication or stamina take a
back-room job, or go to TV drama:-)

When I had a staff´appointment in the UK, we had the use
of a large serviced apartment in St John's Wood where we
could get a few hours sleep, a cooked breakfast and a
clean shirt. It made a lot more sense than wasting those
few free hours in travelling across London and then back
agan.

Or you could have lived closer to work. It's something few seem to
consider these days.

That has serious disadvantages. "3am. Phone, Dave. He'll come.
He lives just round the corner"

Iain.

In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
I have two "ten year watches" and more pairs of gold and silver
presentation cufflinks than I can shake a stick at. I asked if
I might return the second watch after the presentation, and
exchange it for a pocket watch with a sweep/ stop second
hand which to me was much more useful.

How on earth have you managed your job without possessing a
stopwatch?

Erm. I can't fnd a post where I say I had never possessed a stop
watch.

So why want another one?

It was a better alternative to yet another wris****ch.

Is that the best alternative you can think of? In the days when giving out
these sort of long service 'gongs' was common, many firms would give you a
choice of items.

I'd doubt you could find a pocket watch suitable
for a 'presentation' with stop watch facilities that would be anything
like as good as a cheap dedicated stopwatch.

Purely academic really, as good consoles have TC readout
as a part of the automation:-)

Really? Didn't know that. ;-)

And just who uses a 'pocket watch' anyway? ;-)

Anyone with a 3-piece Gieves and Hawkes suit:-)

Just how many funerals do you go to?

--
*They call it PMS because Mad Cow Disease was already taken.

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Iain Churches wrote:
There are recording projects that go on, round the clock for
many weeks, with those involved being resident at the studio.
- so artists can work at any hour they choose. The recording
staff have to be available.

But you were talking about travelling to work at a certain time.

That's correct, standard projects of three/ four sessions the first of
which starts at 0900 (so the crew have to start the studio set up at
0700 latest) The last session finishes in the early hours with about
1.5hrs to strip down.

So even less reason to have one person covering those hours. Apart from in
a one horse operation, of course.

Every project is different. Some go on for many weeks at a time
with block bookings.

If staff have to be available 24/7, there will have to be either a shift
pattern or they too live on the premises.

No shifts. The artists usually want the continuity of the same
production and recording personel.

You seem to have contradicted that above. But no artist is going to work
those sort of hours for days on end. Because their results will be
impaired too.

You seem to think your industry unique. But plenty industries work
round the clock and manage that without silly hours.

They do indeed, by shift work. But in music studios
a producer, engineer, 2E or assistant is signed to a
project and expected to see it through.

Those who don't have the dedication or stamina take a
back-room job, or go to TV drama:-)

Well, on the odd occasion where long production hours are really needed,
we'd get another crew in to rig and de-rig. Leaving the production crew
fresh for what really matters. Of course you'd need decent crews that you
trust for this - not the one man band you seem to be oh so familiar with.


When I had a staff´appointment in the UK, we had the use
of a large serviced apartment in St John's Wood where we
could get a few hours sleep, a cooked breakfast and a
clean shirt. It made a lot more sense than wasting those
few free hours in travelling across London and then back
agan.

Or you could have lived closer to work. It's something few seem to
consider these days.

That has serious disadvantages. "3am. Phone, Dave. He'll come.
He lives just round the corner"

As opposed to no point in phoning Iain as he'll take for ever to get here?

--
*I didn't drive my husband crazy -- I flew him there -- it was faster

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
I have two "ten year watches" and more pairs of gold and silver
presentation cufflinks than I can shake a stick at. I asked if
I might return the second watch after the presentation, and
exchange it for a pocket watch with a sweep/ stop second
hand which to me was much more useful.

How on earth have you managed your job without possessing a
stopwatch?

Erm. I can't fnd a post where I say I had never possessed a stop
watch.

So why want another one?

It was a better alternative to yet another wris****ch.

Is that the best alternative you can think of? In the days when giving out
these sort of long service 'gongs' was common, many firms would give you a
choice of items.

They did. I already had the solid silver pen set, and wine rack
(wines of your choice) The pocket stop watch was a very fine one,
not quite in the Rolex price league, but not far short.

Purely academic really, as good consoles have TC readout
as a part of the automation:-)

Really? Didn't know that. ;-)

And just who uses a 'pocket watch' anyway? ;-)

Anyone with a 3-piece Gieves and Hawkes suit:-)

Just how many funerals do you go to?

:-)

One is expected to dress accordingly when called to a formal
meeting with an important client.

A Motorhead teeshirt, trainers and back-to-front bowling cap
probably wouldn't make the right impression, Dave:-)

Iain

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
There are recording projects that go on, round the clock for
many weeks, with those involved being resident at the studio.
- so artists can work at any hour they choose. The recording
staff have to be available.

But you were talking about travelling to work at a certain time.

That's correct, standard projects of three/ four sessions the first of
which starts at 0900 (so the crew have to start the studio set up at
0700 latest) The last session finishes in the early hours with about
1.5hrs to strip down.

So even less reason to have one person covering those hours. Apart from in
a one horse operation, of course.

Usually three in a crew.

Every project is different. Some go on for many weeks at a time
with block bookings.

If staff have to be available 24/7, there will have to be either a
shift
pattern or they too live on the premises.

No shifts. The artists usually want the continuity of the same
production and recording personel.

You seem to have contradicted that above. But no artist is going to work
those sort of hours for days on end. Because their results will be
impaired too.

I wrote artists, not artist. One is not dealing with a single artist as most
bands have five or six members, all of whome need time, after basic tracks
have been put down to record ttheir own solos, harmony vocals, etc etc.
Then there are string and brass sessions, saxes, and percussion overdubs
etc.


You seem to think your industry unique. But plenty industries work
round the clock and manage that without silly hours.

They do indeed, by shift work. But in music studios
a producer, engineer, 2E or assistant is signed to a
project and expected to see it through.

Those who don't have the dedication or stamina take a
back-room job, or go to TV drama:-)

Well, on the odd occasion where long production hours are really needed,
we'd get another crew in to rig and de-rig. Leaving the production crew
fresh for what really matters. Of course you'd need decent crews that you
trust for this - not the one man band you seem to be oh so familiar with.

Every self respecting team wants to set-up ad break down its own
sessions. As I say, most music recording crews have at leasdt three
people. Working alone is slow, and thus a false economy. The studio
clock is ticking in pounds sterling.

That has serious disadvantages. "3am. Phone, Dave. He'll come.
He lives just round the corner"

As opposed to no point in phoning Iain as he'll take for ever to get here?

On my day/days off, I prefer to be left in peace. I think that is not
an unrerasonable request.


Iain

In article ,
Iain Churches wrote:
Is that the best alternative you can think of? In the days when giving
out these sort of long service 'gongs' was common, many firms would
give you a choice of items.

They did. I already had the solid silver pen set, and wine rack
(wines of your choice) The pocket stop watch was a very fine one,
not quite in the Rolex price league, but not far short.

You must be *very* old with all those long service items. ;-)

Personally, I'd rather be properly paid and buy what I want rather than
relying on gifts.

--
*I couldn't repair your brakes, so I made your horn louder *

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Iain Churches wrote:
Just how many funerals do you go to?

:-)

One is expected to dress accordingly when called to a formal
meeting with an important client.

A Motorhead teeshirt, trainers and back-to-front bowling cap
probably wouldn't make the right impression, Dave:-)

I'd say it would depend on the client. Although a 'bowling' cap could well
put anyone off. As could any strange headgear. Perhaps you meant a
baseball cap?

A suit has never impressed me. And those who dress up for such an occasion
even less so. I'd rather meet the *person* than someone he is attempting
to impersonate.

I'm utterly amazed such things still persist in the recording studio
business. Broadcasting saw the error of this some 40 years ago.

--
*Funny, I don't remember being absent minded.

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Iain Churches wrote:
Well, on the odd occasion where long production hours are really
needed, we'd get another crew in to rig and de-rig. Leaving the
production crew fresh for what really matters. Of course you'd need
decent crews that you trust for this - not the one man band you seem
to be oh so familiar with.

Every self respecting team wants to set-up ad break down its own
sessions.

All that means is you don't have enough decent staff.

As I say, most music recording crews have at leasdt three
people. Working alone is slow, and thus a false economy. The studio
clock is ticking in pounds sterling.

Sounds like it doesn't tick hard enough if you can make people work those
silly hours without it costing so much to make it uneconomical.

--
*If you don't pay your exorcist you can get repossessed*

Dave Plowman London SW
To e-mail, change noise into sound.