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Everything posted by skankdelvar

  1. It's rubbish. I used one at an open mic night and it made everything really mushy.
  2. Text from the BBC news web site / PMQ's feed: Labour's Kevin Brennan asks about visas for British musicians to perform in the EU and vice versa, saying it is disappointing that a reciprocal deal has yet to be agreed. He says the issue is fixable but needs leadership from the top. He urges a cross-party approach to sort this out as soon as possible, given the damage he says it will do to the UK's reputation as one of the leading cultural centres in Europe. The PM agrees, saying he expects the EU will want to do more to facilitate easy travel for musicians and other professionals across a range of sectors, saying there is a "mutual benefit".
  3. As a facetious postscript, one might suggest that doing things at a national level might be less time-restrictive than the (reportedly) proposed and rejected 90 day supranational EU window.. You could do 90 days in Germany and 90 days in France = 180 days in Europe. Stack all the countries up and you might be away for 12 months.
  4. Indeed, that's a separate issue I think that remains to be seen. ETIAS is apparently both a work in progress and - at this stage - an unknown quantity even for some industry experts. The early signs seem to be that ETIAS makes general travel a bit more difficult for citizens of countries which currently enjoy visa-free travel (which is, I suppose the idea, ETIAS being a response to global instability, terrorism, etc). But it may help to ease a situation where bands will (in the short term) be constrained by the requirements of observing national rules.
  5. 'Clear' might be a bit optimistic but there's a structure at a national level with which musos can engage. I suspect that notionally 'bigger' bands with management, etc., will find it easier than smaller bands with fewer professional resources. In any event, nothing much will be happening anywhere until the summer. Covid control is managed at a national level so some countries may still be locking out foreign travellers into the autumn. Any return to normality may not occur until 2022, at which time ETIAS will be on the horizon with its 90 day window.
  6. OK, after a bit of digging, this seems to be the position as compiled by the Incorporated Society of Musicans (who they?): * There is currently no supranational EU scheme covering UK musicians. It's now all at the national level. * UK musicians will be permitted to perform in 30 EEA countries (EU27 plus Iceland, Norway, Liechtenstein), and Switzerland, subject to each nation's specific requirements and laws. Some countries offer a fixed number of visa / permit free days (e.g. France). Others require a short term work permit (e.g. Netherlands). Some countries place more onerous conditions than others but these tend to be the smaller countries * The total number of 'free' days varies from 14 days over 12 months (e.g., Norway, Latvia) up to 90 days over 12 months (e.g., France, Germany) * Most countries seem to be agnostic about a musician's status whereas a few stipulate that the artist must be 'well renowned' and invited by a 'renowned' institution' (e.g. Italy). Iceland stipulates that musicians are welcome but there are different rules if you're performing in catering establishments (!) * Due to the historic Common Travel Area, Ireland is completely open to UK musos. Conclusion UK musicians are not barred from Europe. For the next 12-18 months bands will have to piece their tours together at a national level. Some countries will be more difficult to get into than others. Future Visas (as opposed to work permits) will only be an issue in the short term. In 2022 the EU will introduce a new, supervening programme known as ETIAS. This will become the over-arching visa / entry scheme for the EU countries and replaces the national 'Schengen' visas. Citizens of 62 countries which previously enjoyed visa-free travel (e.g. USA, Australia, UK) will from next year be required to apply for an ETIAS before they will be permitted to enter the EU. The UK is already an approved member of the ETIAS programme. As citizens of a 'third country' UK travellers (whether for business or pleasure) must apply for an ETIAS. The proposed cost of an ETIAS is €7 versus the current €60 Schengen visa. An ETIAS will be more flexible than the current Schengen visa. A Schengen visa is valid for a period of up to 90 days in any given 180 day period of time. An approved ETIAS, on the other hand, will be valid for three years or the date of passport expiry (whichever comes first), and can be used for stays of up to 90 days in a 180 day period. National work permit requirements may still apply.
  7. Well, couple of things: * I couldn't find anything else in the last month or so (go further back and it's mostly predictions rather than outcomes) but feel free to read the article then search for stats that contradict the points the FT advances. * The FT contacted 24 of the biggest City institutions. Many other articles on the subject seem to have been based on predictions by recruitment companies that may or may not have a commercial imperative behind their pronouncements. * The FT's historic position has been extremely hostile to Brexit so I'm relaxed in respect of any partiality vs accuracy issues. If there'd been a jobs bloodbath the FT would been all over it. Some reports I've read suggest that the increase in headcount has been driven by developments such as the fast-growing Fintech sector. Moreover, it's entirely possible that a bank might have laid off 50 EU-related staff but hired 150 for other projects. As with all predictions involving matters with a tinge of controversy, it's fairly safe to assume that the outcomes will be neither as bad as some predict nor as good as predicted by others. Any unwinding or strengthening of the City's position as a financial hot spot may take place over years rather than months while other factors come into play. In any case, once they can find an AI that can do the jobs the banks will sack everyone they can.
  8. Dec 2020 article in the FT (£ paywall) reports that: Brexit has failed to deliver a big hit to financial services employment in London, Financial Times research has shown, with international banks maintaining most of their staff since the vote to leave the EU and big asset managers hiring in the UK capital. Initial warnings that tens of thousands of jobs would leave the City as a result of the 2016 Brexit vote have been drastically scaled back. An FT survey of 24 large international banks and asset managers found that the majority had increased their London headcount over the past five years. Twelve overseas-based banks, which employed about 71,000 people in London five years ago, now have a reduced headcount of about 65,000. But most of the decline came from group-wide restructurings at Credit Suisse, Deutsche Bank and Nomura. Nine of the world’s largest asset managers have ramped up hiring in the UK since the vote, with their total combined headcount rising 35 per cent to more than 10,000 employees over the period. The article also notes that (over the period in question) new financial services jobs have been created in the EU and that further changes may occur. If anything, it is suggested elsewhere that Covid may have more of an impact on the City than Brexit. Some institutions are planning to permanently disperse office-based staff to home or shared-office locations and one such major company (whose name escapes me) has announced its firm intention to do so. Should this occur to any great extent a decline in concentrated work population might cause a negative impact on local businesses such as eateries, dry cleaners, etc. as well as public transport. (Also at @Al Krow to save you having to dig up any stats)
  9. My immediate reactions in chronological order were: Why now? Cui bono? A creeping sense of mortality A desire for a nice cup of tea The view that such revelations as might be presented will not match those to be found in Mr Frank Harris's My Life and Loves
  10. Thank you, everyone. It's an honour to be here tonight among so many gifted practitioners who produced such amazing work. I'm going to try not to cry. (Produces raw onion and waves it under nose). I'd like to thank my agent Mr Maury Sline, my stylist Mrs Gladys Twist and my personal trainer Beppo. Huge props to the great Mr John Fogarty for writing the song, the Saul Zaentz Company for not issuing a copyright takedown order and most all of to my darling wife Brünnhilde and our amazing kids Jonquil, Moonflower and Trixiebelle Vendingmachine. I will treasure this award forever. Thank you. (Falls off stage).
  11. OK, here's Have You Ever Seen The Rain, an old CCR number, its title subtly modified for SoundCloud's cover regs. In case they get snarky here's an MP3 as well: have you ever seen the rain.mp3
  12. Good point, well made. For stereo recording Huw Price suggests using two mics, one over each shoulder. I've never tried it but it sounds like fun.
  13. Forgot: Really good article by Mike Senior here https://www.soundonsound.com/techniques/recording-acoustic-guitar
  14. Couple of things: * I only really record acoustic for use as a rhythm part and it's usually in the background. So I point one mic at the 12th fret, varying the lateral angle relative to the body depending on whether I want to pick up some boom or not. If there's too much boom I high-pass the track. If there's not enough jangle I cut below 800hz and boost around 3.5khz (and sometimes at 10khz though this can sometimes pull up room noise). * In the past I've pointed one mic at the 12th fret and another at about 45 degrees to the soundhole. As it's a two mic set up I try clean up any comb filtering with a phase alignment tool on one of the tracks , example (https://www.audiocation.de/en/plugin ). * In the past I've regretted not having two identical mics, mainly because I'd like to try (i) the thing where you put both mics on a t-bar then angle the caps at 90 degrees to each other for 'real' stereo and also (ii) mid-side recording. * As well as (or instead of) treating the room you could invest in a gobo or two (an acoustic screen but I like the word gobo better because it's funny). Thomann sell gobos (e.g. https://www.thomann.de/gb/clearsonic_s2466x2_s5_2d_sorber.htm), as do any number of other suppliers and manufacturers. Being skint I've been thinking about getting a couple of second-hand office partitions, slapping something on them (acoustic foam, rockwall) and screwing on some casters on so I can shove them in the corner when not in use. Two partitions gets you a V, three partitions gets you an open sided box. Four partitions is possibly overkill. Tip 1: Get a rectangular guitar case, stand it on end then open it to form a V (so it stands up on its own) then position it in front of you and the mic when you record. It works as a cheap and dirty small scale gobo (as long as you're recording sitting down). Enhancement: a lining of acoustic foam inside the body compartment and inside the lid gets you a two-sided, midget 'isolation booth'. Tip 2: EQ-ing - Record some blank air in the room, set the playback to loop. Slot in an EQ plug-in, choose a band, narrow it right down, boost it by 5-10db. You should see a sharp, very narrow peak in the EQ graphic. Hit play. Sweep the EQ peak backwards and forwards until you find an exaggeratedly nasty noise. Reverse the boost so it's a cut. If you find more than one nasty room noise, cut that as well. But keep it narrow. After you've recorded your guitar, try cutting a narrow-ish point somewhere between 300-500hz to reduce any 'boxiness'. Experiment with a high pass set at 60hz to cut rumble and a low pass starting somewhere above 12khz to take out nasty 'digital' high end, also room 'hiss'. If your earlier room noise correction is getting in the way of a nice sound try reducing the cuts.
  15. Back in the 1970's National Lampoon did a spoof ad voiced by "Bob Dylan" for a compilation album called Golden Protest. At the time it was thought to be funny because it was entirely unthinkable that the spirit of the 60's counter-culture would ever be monetised. Spoof Dylan = Christopher Guest (Spinal Tap, etc) Voice at the end of the ad = Dan Aykroyd.
  16. But seriously, there are lots of nice home noodling options out there, ranging from inexpensive little secondhand 10" combos in the BC marketplace, boutique-y wallet-emptiers and hardware amp sims in a box. Take your time, trawl through the forum, visit a few shops (if they're open). It'll be fun
  17. If you're after a bog simple, free bass amp sim to liven up your DI'd sound then the TSE BOD v3 is a good place to start https://www.tseaudio.com/software/tseBOD
  18. The body compartment is too narrow for an Electric XII but about the right size for a Mustang bass. But a Mustang bass is 108 cm long vs the case internal length at 118.5. Might be right for a Bass VI?
  19. Welcome to the forum Nitebytes
  20. Hi Fternolad and welcome to the forum
  21. Well, I think it's simply marvellous. What is it, again? [edit] I might give it a try, acksherly.
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