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© István Pénzes.
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1 September 2012
Nikon F5
Nikon Nikkor AF-D 50mm 1,4
Ilford FP4
Kodak T-max developer
Imacon Flextight 343
Difficult shots, made in a very dark room with lots of tiny light sources. Film was Lomography 800, used in a Nikon FM10 on a tripod.
Classic Tracks: My Bloody Valentine ‘Only Shallow’
Producer: Kevin Shields
Published May 2018
By Tom Doyle
www.soundonsound.com/magazine/2018-05
Первая часть.
It may be famous for its difficult birth, but Loveless was a technical triumph. My Bloody Valentine’s Kevin Shields tells us the story behind their breathtakingly original album.
Since its release in November 1991, My Bloody Valentine’s Loveless has rightly become regarded as one of the most sonically groundbreaking albums of its era and beyond. A dense, kaleidoscopic swirl of shape-shifting guitars and feedback, it’s best remembered for its opening track (and third single), ‘Only Shallow’, featuring the hypnotic, half-submerged vocals of Bilinda Butcher and the pioneering ‘glide guitar’ technique of band leader, producer and co-singer Kevin Shields.
Loveless offered a modernist update on psychedelia and even spawned its own musical genre, with the legions of shoegaze bands who used it as their aural blueprint. Over the years, it has been hailed as a landmark album and influence by the likes of Brian Eno, the Cure’s Robert Smith and Smashing Pumpkins’ Billy Corgan.
But the two-year-long making of Loveless between 1989-91 has also become fabled due to Shields’s legendary sonic fixations and meticulous ear for detail. Twenty-five recording studios were used during its making, as Shields left behind him a trail of burned-out engineers, exasperating his paymasters at Creation Records in the process. Even now, he maintains a role as the painstaking curator of My Bloody Valentine’s catalogue, recently overseeing all-analogue vinyl remasters of Loveless and its predecessor, 1988’s Isn’t Anything.
With the latter album, Shields first began imagining a sound that was completely at odds with the production fashions of the ’80s. “The standard sound of, say 1988, for most rock bands was clearly-panned guitars,” he remembers. “Mostly DI’ed bass guitar sounds. The bass drum was very clicky, the snare was very big. Drums using stereo as much as possible, keeping the vocals quite loud and clear.
“The sound that we were going for was more like the sound that we were hearing all the time, which was either hearing music through ghetto blasters or cheap record players or small gigs coming through Bose PA systems. All very boxy-sounding and meshed in.”
While Shields was influenced by guitar bands such as Sonic Youth and Dinosaur Jr, it was actually the Bomb Squad’s productions for Public Enemy that mostly informed his approach. “That drove me towards not just going into the sort of guitar-y world,” he says. “I was more interested in doing anything I wanted with the guitar because I was hearing really cool music made by hip-hop groups that were sampling stuff. And it was slightly out-of-tune a lot of the time. Because the whole thing about sampling back in those days is that people really started to mess with the key. You’d have stuff that was all slightly in different keys all on top of each other, and you’d get this odd effect.
“The overall mood of the time for me was that I was hearing a lot of music that you just didn’t really know what was creating that sound.”
Beginnings
Born in Queens, New York in 1963 to Irish parents who returned to Dublin when he was 10, Kevin Shields first picked up a guitar in 1980 and began recording at home two years later, using a Yamaha CS-5 synth and Tascam 244 Portastudio.
“There were only a handful of them around in Ireland,” he says of the latter. “It ran at high speed and it had the two parametric EQs covering the whole frequency range, which was kind of something at the time. My approach was as much about using the tape machine and the synth as the guitar. Nothing was favoured at that point. I appeared to be a guitar player years later. But really, from the start, I was coming from a kind of post-punk-influenced era where it was quite normal for people to do anything. It was quite an experimental period. The idea that you couldn’t do anything didn’t occur to me.”
My Bloody Valentine formed in 1983, around the core of Shields and drummer Colm Ó Cíosóig, and the band’s original singer David Conway. Initially their modus operandi was to record drums and bass in the Tascam 244-based Litton Lane Studios in Dublin, before taking the cassettes home to Shields’ home recording setup for overdubbing. “You’d always record a track when you were bouncing a track,” Shields remembers. “A bit like back in the Beatles days. You wouldn’t waste any opportunity to get an extra track.”
Acting on the advice of Gavin Friday (frontman of post-punkers the Virgin Prunes and U2 associate) to “get out of Dublin,” where MBV’s music was considered too noisy and extreme, the band relocated first to Amsterdam and then to West Berlin where they recorded their debut mini-album, 1985’s This Is Your Bloody Valentine, at SCS 8TK Studios.
“It had a Tascam 8-track of some sort,” recalls Shields. “The studio unfortunately shared its desk, which was constantly being pulled in and out for live gigs. We actually mixed the album in four hours, ‘cause we had a choice between waiting two or three weeks or mixing it there and then. The guy had to leave at six o’clock, so we were like, ‘We’ll just do it,’ and that was that.”
At the time, My Bloody Valentine’s sound was more of a Birthday Party/Cramps-styled hybrid of punk, rockabilly and garage rock. Relocating to London and adding bassist Debbie Googe to the line-up, they released two EPs (Geek! In 1985, The New Record in ’86), their sound becoming more akin to the Jesus & Mary Chain’s full-tilt noise pop. Their next single ‘Strawberry Wine’ and second album, Ecstasy, introduced new singer/guitarist Bilinda Butcher (after David Conway had quit to become a fiction writer).
With every release, they were growing more confident in the studio. Due to budget constraints, though, even when making Ecstasy in London’s Alaska Studios, My Bloody Valentine had to work quickly. “It was two studios actually,” Shields remembers, “and we were in the small studio right under a train station. I very much remember always stopping. You’d be doing vocals and you could hear the train coming before anybody else, ‘cause you’d have your headphones turned up. But that was cool. There’s a certain energy that you put into it when you know this is it. There are a lot of advantages to that.”
The breakthrough into the layered, mysterious sound that MBV would become famous for came when they signed to Creation Records for the You Made Me Realise EP in 1988, quickly followed the same year by the widely-acclaimed album Isn’t Anything. “Creation had put us in Bark Studios [in Walthamstow, North London] for You Made Me Realise,” says Shields. “We basically did the EP in about five days. We were happy with it, ’cause it was the first time we recorded with an attitude of, ‘We won’t be able to play this live very easily.’ The attitude towards the vocals was very much single takes. You just did one or two takes and that was it, and you used one or the other, you didn’t comp. We wouldn’t add compression. Especially around the Isn’t Anything time, we wouldn’t add any compression to anything.”
One other significant development was that Shields’ friend Bill Carey (from Creation band Something Pretty Beautiful) lent him his Fender Jazzmaster, which was to help the guitarist develop his trademark sound. “When we did the You Made Me Realise EP, we didn’t really have many instruments,” he says. “I had a Fender Sidekick 65 that I used quite a lot. They were transistor Fender amps and my friend had lent me his [Fender] Dual Showman valve amp. But I actually preferred the hardness of the transistor amps.
“Again, I think it was coming from the fact that what I was hearing a lot from the Public Enemy productions was quite a mid-range hardness. I didn’t know what it was but I just found that it seemed to work with using the transistor amp.”
Glider
In February 1989, My Bloody Valentine entered Blackwing Studios in London’s Southwark, for the preliminary sessions of what would become Loveless. Initially, though, their intention was just to quickly make a new EP. “Blackwing was cool, because it was in a big church,” says Shields. “It was slightly on the musty side. It didn’t have that shiny new studio appeal, but it had good, very solid equipment: Studer tape machine and Amek 2500 desk.
“I think we had 11 days or something and we felt that we could do an EP. We’d done half of Isn’t Anything in 11 days and so we felt well capable of doing an EP in that sort of time scale. And it just didn’t quite work out. But the one song that came from it was ‘Moon Song’ which came out on the Tremolo EP.”
In September ‘89, the Loveless sessions recommenced, moving to Elephant Studios in Wapping, London. “A pretty big live room, pretty low ceiling,” Shields remembers. “It used to a be a car park or something. But there was a sense of space because of the large size of the rooms and there was a good drum room there. They had some good valve mics, Neumann 67s.”
In Elephant, Shields made another sonic breakthrough when he realised that he could distort not only his amps, but the U67 itself: “When you drive the 67 mic, as well as the amp, but basically not put the pad on the mic, it has a certain sound. I do remember the engineer being quite concerned about it, but I really liked it.”
My Bloody Valentine made great progress at Elephant, recording 10-15 of 25 potential tracks, which they’d demo’ed on cassette. Disaster struck during the two-month Elephant sessions, however, when drummer Colm Ó Cíosóig, undergoing the threat of eviction from his squat and potentially facing homelessness, suffered a nervous breakdown.
“Everything just crashed for him,” says Shields. “So he couldn’t really use his legs essentially. We thought it was a good idea, since we’d worked out all the arrangements, to just program the bass drum so then he could play the hi-hat and snare on top.
“Then when I started overdubbing guitars, it just felt bad. You could hear that there was a lack of feel between him playing along with the programming. He wasn’t used to it, I guess. So we decided to completely program the drums, just sample everything and make it as live as possible. We sampled many snare drums, many bass drums. Beginnings, middles and ends of all the cymbals. The toms were made out of lots of one hits, two hits, three hits, so you could create any kind of roll.”
With the help of engineer Harold Burgon, Shields and Ó Cíosóig programmed the drum parts using Steinberg’s Pro24 software in the Atari ST computer, triggering the sampled sounds in an Akai S900. “It was very similar to what he would’ve played,” Shields points out, “just programmed, with the same drum sounds. The Akai was a good sound. I think that’s the thing that people don’t appreciate is that a lot of the digital stuff that was made in that era... the people who were creating the filters and everything, essentially they’d been listening to analogue all their lives.
“By the time we were finishing that, Colm was better. He’d kind of recovered. This all happened within this two-month period, and essentially we were like, Well, let’s just record [live drums] on some of these newer songs like ‘Only Shallow’ and ‘Come In Alone’. He also played toms on ‘Loomer’.”
Next, Debbie Googe’s bass sound was created using a combination of DI and amp sound and, significantly, a Vox Tone Bender pedal. “Back then, there were no bass fuzzes that you could buy in the shops,” Shields says. “When you normally plugged a bass into a fuzz pedal, it would just sound a bit thin. Our pedal was a clone that put a weird load on the pickups. You could even put a really thin twangy guitar sound through it and it came out totally full and big, because it was taking all the top end off somehow and then the fuzz circuit was just amplifying everything below 2kHz or something. Nothing over 2kHz was being properly represented from the guitar and was just created by the fuzz unit. So it just had this certain sound.”
All the while, Kevin Shields began to develop his ‘glide guitar’ technique, employing experimental tunings and use of the tremolo arm on Fender Jazzmaster and Jaguar guitars to create pitch-bending effects. “The action arm is taped to sort of keep it from going all the way in,” he explains. “That’s so when I’m strumming the guitar, I sort of modify the positions of the end of the arm. If you pick up a guitar and start strumming it holding the tremolo arm, it’s gonna sound quite different than when you don’t hold the tremolo arm, even if you’re not bending. Because depending on how it’s set up, it’s actually moving all the time as you’re playing.
“I managed to set it up in such a way that it didn’t move so much unless I moved it. It’s super-loose. So it’s only my downwards pushing that would make it work, as opposed to just strumming it back and forth. If it’s not set up in a certain way, then that starts to affect the pitch as well. You just get a more wobbly thing that doesn’t sound right. It’s one of the reasons why I think when people first started to copy it, it wasn’t working, ‘cause they’d just pick up a guitar and play it with the standard Jazzmaster tremolo setup. It can work, but it rarely does. I figured out a way of modifying it so it became invisible really in my hand. It’s just more of a feeling thing. I wouldn’t even need to be thinking about it.”
Amps-wise, Shields variously used a Marshall JCM800 and what he describes as Elephant’s “Dan Armstrong half-valve, half-transistor amp.” Elsewhere, he began experimenting with the studio’s Vox AC4 and AC15 amps. “They were my first introduction to Vox amps and immediately I fell in love with them,” he enthuses. “I discovered that when you use open tunings and you have slightly odd-sounding chords that they really brought out all the harmonics of all the notes in a way that the Marshall didn’t.
“I’d read something about a Joni Mitchell tuning and I remember copying it. Or I could be getting confused and it was a Rolling Stones tuning, I can’t remember. But those two I do remember trying out. Mostly I’d just make a tuning up. Just kind of tune the strings until it worked and then start making a song on it.”
Another of Shields’s secret weapons was the reverse reverb patch on the Yamaha SPX90 multi-effects processor. “I discovered it back in ’88 when we did the You Made Me Realise EP,” he says “I’d used the reverse reverb before in ’87, but on the song ‘Slow’, it just dawned on me to put the full signal on, with the mix in full effect. When you played soft, it was very quiet, and when you played hard it got really loud because the reverse reverb effect in the SPX90 is essentially made up of lots of little delays that just get louder. It also has a thing called random reverb which was equally usable. So I would swap between them. I would just basically use whichever one appealed to me at that moment.
“I used the SPX90 for most of Loveless. The sound was basically a guitar into an amp, the amp miked up, into the SPX90 with the effect on full. It was a pretty clean sound on the amp. So I wound up with this SPX90 effect and I took that and fed that into a Marshall amp and that created the kind of distortion essentially.”
Meanwhile for the distinctive squalling riff on ‘Only Shallow’, Shields had something of a eureka moment with a ’60s Burman amp and Fender Showman. “I set them up facing each other with one microphone in the middle and both of them with the tremolo going,” he explains. “So the base sound of the thing was these two amps with the tremolos shaking at different rates. I overdubbed that, so you had four different rates of tremolo. Then I sampled it in the Akai and played it backwards, so it was backwards and forwards at the same time, and then played it an octave higher.”
Layers
While many engineers struggled to get their heads around Kevin Shields’s boundary-pushing (and sometimes equipment-endangering) techniques, My Bloody Valentine found one, Alan Moulder, who instantly got what the producer/guitarist was trying to achieve. Moulder was brought in to mix the Glider EP (released April 1990) and stayed on for more sessions for Loveless.
“Yes, he got us,” says Shields, “but he was also at a completely different level in standard than we’d come across before. Alan was the first person up to that point that we’d worked with who was completely in a different space. He was extremely positive and motivated and very knowledgeable and also very respectful of the fact that I knew what I wanted.
“I wanted everything very dry and he went to great lengths to record everything as dry as possible. He would always build tents around everything. Every guitar sound that was recorded always had huge blankets around [the amps] and everything we could to sort of dry it up and make it as upfront as possible. The reason for that was because of all the sounds I was using. When you use the tremolo arm, it adds a reverb in itself. It adds a sort of space and when you start having room ambience, then it gets weird.
“Essentially, when you use a tremolo arm on a guitar, the way I use it, it’s not only pitch bending, it’s also tone bending, ‘cause you get a totally different tonal response as the guitar is changing. Each string has a different tension so you’re not getting uniform tone change. The more room sound on the guitar sound, the more the little resonances just wouldn’t seem to be upfront. This became a big issue at the time. But Alan was just really good. He was the first person I came across I could really trust. I mean, we’d had good people before, but it wasn’t the same.”
Adding to the overall melange of MBV’s sound on Loveless were the various keyboard patches comprising of different combinations of feedback, flute and Butcher’s voice. “That was another one of our big things,” says Shields. “I like the pureness of flutes. Also, because of Public Enemy and the kind of samples they were using, I realised that when you make lots of guitar feedback and sample it, you’ve got kind of like endless sounds. So we made a big library of that. If we made a keyboard line, it would be kind of made with these guitar feedback things, then I would also mix a flute sample in there sometimes.
“We sampled Bilinda singing across the keyboard, so it wasn’t too Mickey Mouse. It was more or less in the tonal range, maybe three or four notes we’d share between a sample. So we kind of had a Bilinda/guitar feedback library, a Bilinda library and then this basic thing I used from the Akai library which was flute and oboe. They were my main things if I was using keyboard sounds.”
One of the stranger legends about the making of Loveless is that Butcher and Shields insisted on recording their vocals at Britannia Row Studios in north London inside a curtained vocal booth, so that no one could see them performing, and that they asked the engineer Anjali Dutt to turn down the control room monitors so she couldn’t hear the singers. Shield confirms that this is in fact true, while explaining his thinking. “I kind of had this weird thing,” he laughs. “Y’know the way in quantum physics that everything gets affected by the observer? Well basically I just decided that I didn’t want anyone to hear what we were doing.
“How we’d sing generally, we’d just sing a song from beginning to end. There wouldn’t be any kind of saying, ‘Stop... start again... drop me in there’. We weren’t doing any of that. It was just essentially, ‘Bring the tape to the beginning, roll it, we’ll sing it, we’ll do it again’, and we’d keep on doing that until we got tired. Anjali Dutt was recording us without hearing it. Just monitoring by seeing the meters.”
No vocal comping of takes was ever done either in the fashioning of MBV’s distinctive vocal styles. More unusual still, no compression, reverb or delay whatsoever was used. “Nothing at all,” says Shields. “Essentially I just had all of [the takes] running and subtracted ones that weren’t working, then gravitated towards one that would feel particularly good, and that became the lead vocal. The top end and all the consonants and the clarity would come from that. Then behind that is this kind of bed of around 10 or more. So that’s why it doesn’t sound particularly double-tracked. It just sounds like an odd sound, and the sound is created by the fading of the 10 tracks, but they all sound very similar.
“That was the sort of thing that me and Bilinda at the time did quite naturally. Once we learned the song, we would sing it very similar each time. It would be markedly the same. And we realised that even to get a double-tracked vocal effect was actually quite difficult, because they’d be so similar.
“Our big problem was because we sang reasonably quiet, all the esses, ticks and noises would be your main enemy. Especially painting the picture, you don’t want the esses. Taking a vocal and compressing it wasn’t ideal, because it would just bring out those problems a bit more.”
Mixing
For the mixing of Loveless, My Bloody Valentine settled into The Church, North London, working with engineers Darren Allison and Dick Meaney. “We needed somewhere with 48-track and they had excellent monitoring at The Church: this Boxer system by Neil Grant, and [Yamaha] NS10s. Alan Moulder had gone on a bit of a mission to find speakers that weren’t as flattering as NS10s. ‘Cause NS10s are extremely flattering for guitar music. So when I was mixing Loveless, Alan had bought these Acoustic Energy AE1s. Basically I used them and NS10s and then the Boxers. It was a good setup actually.”
Given the extreme noise elements of Loveless, it’s perhaps surprising that Shields had a very specific limit to how loudly he monitored while mixing. “Not that loud,” he says. “With mixing, I find that my ears start to compress around 85dB. So while I record loud, and monitor loud at various times, most of the time when I was mixing, it would be sort of around that 84dB area. I could do a trick after a while. I found that with a dB meter you could turn music up and I could literally say, ‘Right, stop,’ and it would always stop around 84.
“If I was mixing consistently at 90dB, say, it would sound surprisingly different to me if you heard it really quiet. It’s different when you’re working with a lot of bass and treble, but when you’re doing a lot in mid-range, it doesn’t benefit from blasting the speakers so much because you’re getting conned. You think it’s way more exciting and forward-sounding than it really is.”
Shields remembers that ‘Only Shallow’ in particular was a relatively simple track to mix. “I found the track sheet and there’s only three main guitar tracks on it. I kind of panned them, that one was quite stereo. ’Cause that’s the thing, I would use stereo just on a whim. I wasn’t against it or anything. Half the tracks have stereo and half don’t. ‘Only Shallow’ was literally two main guitar tracks that were panned and a guide guitar which I brought in for the last verse. Then there’s four tracks we used for the main guitar [riff] thing when it comes in.”
During the mix process, Shields would often experiment with varispeeding the two 24-track tape machines. “‘Only Shallow’ would be a really good example,” he says. “It was slower than it wound up because we sped it up a little bit, from 30ips to 32ips, to help Bilinda sing it comfortably. So when I was mixing ‘Loveless’, I would just decide exactly where I wanted the pitch to be — just randomly go, ‘That sounds good.’ Some songs it would be close to where the vocal really was. Some songs, like ‘Come In Alone’, it was the opposite. It’s me singing but it sounds like Bilinda because I’m actually pitched up. I just let the music dictate the pitch it would be and then the vocal just became this varisped vocal.”
Other important features for Shields on Loveless were the transitions between tracks, meaning that he effectively mastered the album at The Church, as he put together the segues in an AMS Audiofile digital audio editor. “We did the stuff back then with DAT machines,” he says. “It was the DTC-1000. Terrible convertors and all that, but it had a sound. We recorded the mixes onto the DAT and then played them from the DAT back into a Massenburg [GML 8200 Stereo Parametric] EQ and then into the AMS Audiofile. The Massenburg has kind of a phase phenomena going on, and that’s partly why it sounds really good. If you use it twice in a row, you get a certain sound that’s actually quite difficult to get any other way.
“The AMS Audiofile was just like a big washing machine with a tiny screen. All of the crossfades were just Crossfade 1-10 and you just picked one. One of the big things for me with Loveless was the way it flowed. We spent quite a few days, probably a week, just getting that exact flow correct.”
Remastering
For the all-analogue vinyl remaster of Loveless released earlier this year, Kevin Shields gave himself the task of recreating the transitions between the tracks entirely with tape edits of copies of the original half-inch two-track masters. “Andy Savours, the engineer I was working with, did lots of trial and error,” he says. “He found the best way to do it was you essentially get two pieces of tape and you put them on top of each other, and basically just do the edits on both tapes.
“The edits that were really hard were the short fades. The AMS Audiofile fades, program 1 or 2 or 3, they were actually only like a half second, but they had a definite curve on them. So we had to do these kind of triangular tape edits — you just cut a huge triangle in the middle of it, so that means that left and right fade in at exactly the same time.
“We spent a year achieving the perfect flow again in the analogue domain. We achieved that thanks to Pro Tools, because we could work everything out in Pro Tools and then we would just use mathematics to measure everything. We basically did all the legwork in Pro Tools and then literally went, ‘OK, what would that mean if you turned that into a tape length?’”
The vinyl masters completed, Kevin Shields has now turned his attention to two new My Bloody Valentine EPs — one to be released this summer; a second to come next spring. The story of Loveless isn’t over yet, however, with Shields planning to create a double-album vinyl version at some point in the future. Given the amount of time and dedication he’s given to the album down the years, has it ever felt like pushing a boulder up a hill? “Yep,” he laughs. “It didn’t feel like that when we were working out all the edits and stuff, ’cause we were in control of that. Cutting it was really painful because you’re dealing with all these variables.
“At one point we were just going in a circle. I was trying to do it at one cutting place and it was just too soft-sounding, and I was sending it to two different pressing plants and neither of them were the one I wound up with. They both were to varying levels changing the sound in ways that I didn’t like. Both of them were subjugating the mid-range but one was adding high end and one was very nice sounding but the high end just wasn’t there. We went with Optimal [Media in Germany] and suddenly we were getting test pressings back that weren’t messing with the sound. Then it was just a case of perfecting it.”
One of the things that listeners say about Loveless is that they hear something new in it every time they play it. For Shields, there is no greater compliment, since that’s exactly how he intended the album to be. “The very nature of the way it’s mixed,” he says, “it allows your imagination to sort of play a certain role in the mix. If you mix things in a way that they share a lot of frequencies, your brain plays a role. Also the bending, the constant pitch changing means that it’s difficult for your brain to sort of remember that. You’re always hearing something different every single time.”
#mbv #shoegaze #reverb #shields
It's very, very difficult to take photos of people standing in front of aquariums. The aquariums are usually lit, and the outside dark. If you use a flash, it badly reflects off the glass. If you don't use a flash, you can see the person, or the fish, but usually not both. So here I used the Sony DSC-H9's night shot feature, which takes IR pictures. It worked, although of course, the photo is B&W.
I also altered this photo, which is something I rarely do. I used a program to "despeckle" the image, making it less grainy and a little more smooth.
Bangor bounce back against Portadown
by Roger Corbett
Determined to put their disappointing performance against Dundalk behind them, Bangor produced a patient display against Portadown to win by 17-10.
Last weekend had been a difficult one for both sides. Bangor were well and truly humbled by an exemplary performance by Dundalk, losing by the largest margin in recent years. For Portadown’s part, they travelled to Donaghadee only to be put to the sword by a merciless 46-0. Bangor needed the win today to show that still had what it takes to remain a powerful force in the league. Likewise, Portadown were hoping to stop the rot of several poor results and remain in contention for an all-important top four place, keeping alive their hopes to contest the All Ireland Junior Cup next season. With both sides fielding teams that reflected their growing injury lists, this had all the ingredients for an interesting and competitive encounter. Bangor had 6 changes from last weekend, the most notable being a 1st XV debut for David Caughey coming in for Freddie Black at second row.
Portadown kicked off with the wind at their backs, and for the first half hour of the game play was almost entirely held within the centre of the pitch, between the two twenty twos. Although Bangor were producing the more meaningful attacks, they suffered from knock-ons when tackled, and some miss-timed passes that went astray. On a positive note, the scrums looked solid and the line-outs showed signs of improvement. However, after 35 minutes a good Portadown break saw Bangor desperately defending their line. In the resulting series of defensive rucks, Bangor were eventually penalised and a yellow card was shown to Curtis Stewart. The stalemate was then broken on the stroke of half time when Bangor conceded another penalty, this time in front of their own posts. The straightforward kick was successful giving Portadown the narrowest of leads as the sides turned around at 0-3.
Now playing with the wind advantage, Bangor got the second half underway. However, it was Portadown who showed the early initiative, winning another penalty after 12 minutes of play. With the wind in their faces, the kick was pushed wide and Bangor were let of the hook. Bangor now started to lift their game and were showing signs of promise with characteristically good runs from Curtis Stewart and Davy Charles. The sustained pressure eventually paid off when Portadown conceded a penalty which Neil Cuthbertson successfully converted, levelling the scores at 3-3.
As the game entered the final quarter, Bangor were making better use of the wind than their opponents had in the first half. Although some kicks went too long, others provided just enough pressure on the Portadown defence to cause them problems. This is exactly what happened when a kick deep into Portadown’s twenty two looked like it might have been going long, but the Portadown full back decided to play it. However, he underestimated the flight of the ball and only managed to get his hands to it, slowing its progress to the goal area. Realising the danger of his actions, he tried to keep the ball in play and then clear up-field, but it overran and Bangor were awarded the 5 metre scrum. Finding themselves in one of their best attacking positions for some time, Bangor’s scrum proved too much for Portadown who were duly penalised. This hadn’t been the first offence of this nature, so the yellow card was shown to the offending Portadown player. Now with the extra man advantage in the scrum, Bangor set about the weakened Portadown pack, resulting in another collapsed scum. The referee, having just warned the Portadown players about the implications of such repeated offences, had no hesitation in awarding Bangor a penalty try under the posts. With the added conversion from Cuthbertson, Bangor were now ahead for the first time, by 10-3.
Bangor now started to look more relaxed, and were keeping play in Portadown’s half. After another 10 minutes, a Bangor scrum on the right hand wing resulted in quick ball to the back line. A long pass by Mark Thompson at out half missed the centres and went straight to Davy Charles, coming into the line from full back. With the Portadown defence trying to cover across, Charles had the pace to get through and dive over in the left hand corner for a try. The touchline kick by Cuthbertson was superbly judged, added the extras and extending Bangor’s lead to 17-3.
Although Bangor enjoyed further scoring opportunities, these came to nothing as poor passing saw the ball go to ground and the attack falter. Portadown, on the other hand, were anxious to come away with something to show for their efforts and mounted a late surge towards Bangor’s line. In the ensuing waves of attack, a series of penalties conceded by Bangor resulted in a yellow card for Charles. The combination of a quickly taken tap penalty and an out of shape Bangor defence, provided Portadown with enough space to dart through for a converted try, and earn a losing bonus point in the process, as the final score came to 17-10.
While this performance could hardly be described as champagne rugby, it still tasted good for Bangor to return to winning ways, and go some way to putting last week’s loss behind them. The mixture of old and new players worked well together, and demonstrates the depth in strength Bangor enjoy within their senior squad. With no match next week, the players and coaching staff have time to regroup and prepare for another ‘cup final’ game – this time against our closest neighbours and rivals, Donaghadee. With the Dee currently enjoying a purple patch and fighting for their survival in this league, and Bangor looking to maintain their hold at the top end of the table, this fixture promises to be an intriguing encounter.
Bangor side: O McIlmurray M Crockford, P Whyte, D Caughey, G Irvine, A Jackson, J Clegg (c), C Stewart, J Ball, K Rosson, N Cuthbertson, M Weir, M Widdowson, A McCusker, D Charles
Subs: S Irvine, M Thompson
Bangor scores: D Charles (1T), N Cuthbertson (1P, 2C), penalty try.
You'll have to fit the nut between the PCB and the USB port and hold it with pliers while tightening the bolts with a screwdriver. Again, don't use too much force!
Difficult shot inside a speeding bus with very little light left. Quite blurred but got just the monochromatic effect I wanted
These were difficult lighting conditions. The stage was kept dark to illuminate the electronic backdrop which displayed various fractal-type images. It pushed my point and shoot to the limit. I had to process these quite a bit to remove noise and glare. None of this takes away from the brilliant execution on guitar of Tosin Abasi.
Estas imágenes se sacaron bajo condiciones de luz difíciles. El escenario se mantenía oscuro para iluminar el telón de fondo electrónico que visualizaba imágenes fractales. Esto retaba las capabilidades de mi cámara apuntar y disparar. Tuve que procesar estas fotos bastante para quitarles el ruido y el brillo. Nada de esto disminuye la ejecución maravillosa en guitarra de Tosin Abasi.
In difficult light this poor image is the only viable shot that I captured today of the deer. There were many people walking dogs and cycling in the forest, whilst there was also an awful lot of noise from people excitedly enjoying the late summer sun. Yet hidden close to all of this were the deer, I assume they are female roe deer, unobserved by many of the passers by!
for awhile i didn't think they were going to make it, the current was strong and their raft, deflating.
This was my Grandfathers 35mm, this was taken in color and then converted to B&W, I just liked the feel of it better in B&W.
via
Roughly around 325,000 homes across the US are broken into every year, usually in plain view. Altogether there are about 2.5 million burglaries reported and 66% of those are in homes. Most break-ins happen during the day when people are most likely to be out and about.
There are certain things you can do to protect your home in order not to become a statistic. We’ve rounded up 4 tips to protect your home, your family, and belongings better.
Keep valuables out of sight
It’s not difficult for anyone to just walk up and take a peek through one of your windows and see what you have lying around if you don’t have thick curtains or forgot to close them on your way out. While some items are not really meant to be moved around, like a TV screen, others are easier to move and keep out of view. Laptops, mobiles, all other small devices, purses, and wallets can all be put away when you’re out of the house. Even if your purse or wallet is actually empty and the mobile is old, a burglar wouldn’t know that, and it would just be too tempting in their eyes.
Wire up
It doesn’t matter if you live in a building, a house, or own a shop or any other business, you can use a security system to put your mind at ease. If moving into a new home or looking to sell your old one that’s a good time for when to get a wired security system. Having a wired system can increase the cost of your home when selling, and may also have custom made options that wireless security systems do not always offer.
Don’t provide hiding places
Your landscape, tall trees, and bushes are lovely to sit near and under. They provide nice shade on hot days but they also provide more opportunity for thieves and the likes to hide in. Keep shrubs and trees trimmed, at least trimmed enough that they do not block windows. Besides that, don’t leave items outside. Many people will leave a ladder outside after doing some roof repair, for example. This is inviting a would-be thief to the upper floors of a house where windows might be often unlocked.
Change locks when necessary
Anytime you or someone else loses a key to the house, change the lock. You can never be sure if the key was actually lost or if someone got their hands on it, giving them more than easy access to your home. If you rent out a home, it’s also recommended to change locks after a tenant leaves.
You can never be too safe
There really is no such thing as being too safe when it comes to protecting your home. Be an alert homeowner and find out more ways to protect your property. Always keep all doors, windows and the garage locked. You can ask someone you trust to keep a watchful eye if you have to leave home for an extended period. As we say, better to be safe than sorry.
Article source: 4 Tips to Secure the Privacy of Your Home
Related Article: How to Protect Your Home While on Vacation
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Article source here: 4 Tips to Secure the Privacy of Your Home tomhomesecurtyguide.blogspot.com/2019/12/4-tips-to-secure...
Difficult one today and not completely satisfied. I was busy all day long and only could start in the evening. I had the crazy idea to shoot a paperweight ball with a desk lamp behind it. The result isn't what I had hoped for. This is the best I could make of it...
Better luck next time...
It's really difficult to get one of these shots, but today my luck was in! The light was favourable, and this bird chose to land close to me and in a favourable position with regard to the Sun. I even managed to minimise the local overexposure that one so often gets with Swans, which, being predominantly white, throw a lot of light at the camera.
There were a couple of swans that were being chased off by a third one; however they kept sneaking back and the 3rd one continued to chase them off, so I was able to get a lot of shots.
I've a similar pic at:-
Because a bank's exact need for liquidity is difficult to know in real time, depositors have incomplete information about its ability to survive a run. The incomplete information means that a bank is not automatically incentivized to hold enough liquid assets to survive runs. Regulations similar to those implemented recently can change the bank’s incentives so that runs are less likely.
At this Becker Brown Bag, Douglas Diamond of Chicago Booth discussed how these regulations can be improved.
Determined Bangor grab vital win against Ballyclare
By Roger Corbett | Sunday 10th March 2013
In difficult playing conditions, it was Bangor who dominated and took their opportunities to win by 13-3, and close the gap to their rivals in this thrilling league contest.
At last the waiting was over and the two contenders for this season’s league title finally got to face up to each other in this crucial game for both sides. In difficult conditions, it was Bangor who took their opportunities to win by 13-3, and close the gap to their rivals to 3 points, with 2 games in hand.
With both sides fielding strong teams, and the internet pundits split on which way they reckoned the game would go, this was the pick of the QL2 fixtures with no clear favourite. Obviously home advantage would play its part, but the cold and wet weather coupled with a heavy pitch would add to the complexity of the situation.
Ballyclare got the game underway, playing into the breeze. From the outset, the home side were determined not to let Ballyclare get a foothold. Sensible, close quarter play saw Bangor move into the Ballyclare half and remain there for much of first half. However, Ballyclare’s defence, when called upon, was sound and withstood everything that was thrown at them. The eagerly awaited battle of the packs did not disappoint, with Ballyclare holding the normally rampant Bangor driving maul. However, the early indications were that Bangor had the upper hand in the scrums, having turned and disrupted them on Ballyclare’s put-in on a number of occasions.
The first score came mid-way through the half, when Chris Morgan converted a penalty from far out on the right hand side, making it 3-0.
Shortly afterwards, on 28 minutes, the Ballyclare hooker suffered a bad ankle injury and had to leave the field of play. Losing any player in a QL2 game is a major set-back, however it could be argued that this might have been worse for Ballyclare. With no hooker, the remainder of the game would be played with uncontested scrums, thus ensuring good possession for Ballyclare in this area – something that had been missing up to this point.
As the referee blew for half time, and with the score still at 3-0 for Bangor, there were anxious faces on the touchline, worried that this would not be enough of a lead when now playing into the wind.
Thankfully this worry appeared to be confined to the touchline, as Bangor restarted the second half in the same vein as the first. They were rewarded with another penalty after just 5 minutes, this time in front of the posts which Morgan again converted, doubling the lead to 6-0.
Just 7 minutes later, Ballyclare were awarded a penalty – in front of the posts, but quite a distance out. The well-taken kick just carried enough distance to go over, and reduce the deficit to 6-3.
Although the rain had all but stopped, and the wind eased, the players were all now suffering from the cold, resulting in many handling mistakes for both sides. However, it is testament to the fitness of both sides that the game never appeared to be running out of steam, and anything could happen before it was all over.
With just 2 minutes of normal playing time remaining, the constant harrying by the Bangor forwards finally forced the handling error in the Ballyclare line that provided the game’s decisive moment. Pouncing on a loose Ballyclare ball, Bangor prop Chris Schofield booted the ball through and set off in pursuit. The stunned Ballyclare defence was wrong footed, allowing Schofield, showing a tidy turn of speed, to touch down under the Ballyclare posts. Morgan’s simple conversion added the extras, extending Bangor’s lead to 13-3 and thus, more importantly, depriving Ballyclare of a losing bonus point which, up to this time had looked the likely outcome.
Although Ballyclare hurried back to try and add to their points tally, sensible positional play from Bangor, especially by out-half Jason Morgan, kept Ballyclare in their own half and denied them any further realistic opportunities. As the referee blew for full time, Bangor knew that their league destiny was now in their own hands.
Although this was a highly significant victory, there are still a number of testing games ahead, before playing the return away fixture against Ballyclare at the close of the league competition. Ballyclare may feel disappointed by the result, but all is not lost for them, especially as they contest the Towns Cup semi-final next week, and have fewer, more straightforward games left in their closing run in the league.
Bangor team: C Schofield, P Dornan, J Harrison, F Black, D Lyttle, N Hatton, J Clegg, C Stewart. R Armstrong (c), J Morgan, S Addy, M Aspley, M Leebody, D Charles, C Morgan
Bangor scores: C Schofield (1T), C Morgan (2P, 1C)
Difficult conditions for photography
Camera Canon EOS 5D
Exposure 0.033 sec (1/30)
Aperture f/2.8
Focal Length 173 mm
ISO Speed 1250
Exposure Bias -1 EV
Another tough hole on the Frisbee golf course along the trail from One Mile Lake to the Nairn Falls campground. Yikes!
The pool in front of the Bellagio. I don't know why they don't run the fountains at night...
To be accompanied by 'Venetian Snares - Plunging Hornets"
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Et toujours l'accès d'un grand
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Réseau national
4G : 70% de la population couverte soit plus de 44 millions de personnes couvertes en France métropolitaine avec offre et terminal compatibles.
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conditions dans les Taris Pro.
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Difficult then as the question may be we need to look closer at
Pure Ravishing Skin. Germans have long been acclaimed for their entertaining Pure Ravishing Skin. I could do that with ease. I expect I've only been asked a few times to review a product like that. Pure Ravishing Skin has always made it difficult for me to judge what is the best Pure Ravishing Skin. Assuredly, "It takes one to know one." It is usually made of it. I am exhausted from it and I have no problem with that. I ought to wimp out on giving the feeling of being worthless. This was like a bolt from the blue. This is all the monkey business you'll want. Objectively, "Blood is thicker than water." As a matter of fact, there are a few features of their avocation that are not necessarily going to be useful to a small number people. Pure Ravishing Skin will really spellbind everybody who sees it.
Difficult lighting for my alpha without flash, especially since I was moving constantly. A camera, flash and intent to photograph here generates some scowls and not so friendly looks. At least that was my perception. As a result, low light photos of questionable quality. More documentary than high quality photos.
The oldest documented structure surviving in the City of Petersburg, Old Blandford Church preserves an important, if difficult, history for its region. Bristol Parish was established by an Act of Assembly in 1643, separated from Martins Brandon Parish. At the time that the present brick church was built in 1735, Bristol Parish had grown to over 2,000 parishioners only to suddenly decline when two new parishes were erected within its former boundaries. Construction of the new parish church at Blandford was completed in two years, a brick church of Georgian design laid in Flemish bond with glazed headers and oriented on an east-west axis. Entrance to the church was permitted through a large door on the west end and a smaller on placed on the south side of the altar near the east end. The parish church was designed and built by Thomas Ravenswood at a cost of 485 pounds and was believed to have been modeled on Merchant's Hope Church in nearby Hopewell.
Soon after the completion of the Bristol Parish Church, the congregation witnessed a sermon by Rev. George Whitfield, an early Methodist evangelist whose tour of the English colonies in North America was the culmination of the first Great Awakening.
Given its location on the Appomattox River, Petersburg developed quickly to become a prosperous port town. Bristol Parish grew to the extent that he vestry ordered the addition of a wing to the north side of the parish church in 1752. The work was overseen by Col. Richard Bland and took several years to complete. The final payment of 400 pounds for the work was made by the vestry in 1767. In addition to the north wing of the church, a brick wall was erected around the churchyard which remains intact today.
Services continued to be held at Blandford Church through the disestablishment, but the continued growth of Petersburg led to the removal of the congregation to a new church built in the downtown. By 1806, the old parish church was abandoned and in 1818, the building was sold to John Grammer who in turn donated the church along with much of the surrounding land to the city for use as a cemetery. During the Civil War, Old Blandford Church was used as a telegraph station and was hit by at least three shells during the siege of the city in 1864/65.
In 1889, the Ladies Memorial Association began its connection with the property, purchasing pews and a podium to accommodate public speaking engagements within the church which the city had restored a few years earlier. In 1901, the building was transferred to the association which proceeded to convert the church into a memorial for Confederate soldiers. The Ladies Memorial Association solicited funds from the former Confederate states to procure Tiffany stained glass windows for the church. These windows were installed and dedicated in 1912 in a ceremony that came during the height of southern edification and "Lost Cause" mythology that increased post-Reconstruction tension between white and African American populations in the United States and a rise in hate crimes and Jim Crow discrimination.
For visitors today, Old Blandford Church should stand as a paradox. The ancient brick walls and elegant wall surrounding the aged stones of its churchyard instill a deep sense of history. This beauty stands in sharp contrast as one walks by Confederate battle flags and views windows which glorify rebellion against the United States for the sake of an abhorrent institution. This provocative juxtaposition leaves one with deep questions upon exiting the churchyard at Old Blandford.
Difficult shot in low early morning light, but I caught the thread coming out of the spinneret of this common but bizarre-looking little orb-weaver in front of our house. Took one with flash instead: www.flickr.com/photos/anitagould/1177205941/. Which do you like better?
This year there is a Micrathena in the same location once again -- presumably one of this one's offspring.
Difficult lighting as it was Dusk.
Wikipedia:
Sheikh Zayed Grand Mosque (Arabic :جامع الشيخ زايد الكبير) is located in Abu Dhabi, the capital city of the United Arab Emirates.[1]
Sheikh Zayed Grand Mosque was initiated by the late President of the United Arab Emirates (UAE), HH Sheikh Zayed bin Sultan Al Nahyan. His final resting place is located on the grounds beside the same mosque.
As the country’s grand mosque, it is the key place of worship for Friday gathering and Eid prayers. It is the largest mosque in the UAE and numbers during Eid can be more than forty thousand people.[2]
Sheikh Zayed Grand Mosque Center (SZGMC) offices are located in the east minarets. SZGMC manages the day to day operations, as a place of worship and Friday gathering and also a center of learning and discovery through its educational cultural activities and visitor programs.
The library, located in the north/east minaret, serves the community with classic books and publications addressing a range of Islamic subjects: sciences, civilization, calligraphy, the arts, coins and includes some rare publications dating back more than 200 years. In reflection of the diversity of the Islamic world and the United Arab Emirates, the collection comprises material in a broad range of languages including Arabic, English, French, Italian, Spanish, German and Korean.
Linday Lohan said that meditation had changed his life. The star of the movie ‘Mean Girls‘ has experienced several difficult years, which earned her stay in many rehabs, but she managed to bounce back and is currently working with David Mamet, ‘Speed-the-Plow’, which gets ...
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