Hal MacLean

Let me say from the outset that I am not a real golfer. I enjoy a game here and there, and have been known to win a few times, but I don’t get much of a chance to play these days. Even when I did play during the nineties I was not that good, a real beginner, but I did manage to learn how to swing the club and got quite in to the game.

And then life intervened. About ten years or more of an intervention, before I was once more thinking about having a regular game of golf.

I started to look for clubs in earnest, thinking I ought to be able to find a half decent set for not much money, but actually it is very hard to do. I read review after review, I read technical specifications and advertising. I read until my eyes were sore, and finally settled on some TaylorMade Tour Burner irons. Heck, American Golf were selling them for less than £300, and I had to get a set! I was very fortunate that this coincided with my birthday and I was offered new clubs for a present. Well, it would have been rude to refuse…

When I visited American Golf in Braintree, Essex (Freeport) I found the staff to be very good indeed – much better than I had anticipated. I explained that as a former golfer I didn’t really class myself as a beginner and didn’t want irons that a beginner would use. I had my heart set on TaylorMade Tour Burners, and that was that. The salesman (Mark) was excellent. He listened patiently, nodded knowingly and selected a range of clubs for me to try out on the electronic analyser at the back of the store. I had some Taylormade irons, some Callaways, and two types of Nike, including the Slingshots.

So onto the machine I stepped and swung the clubs as best I could. The machine plotted the trajectory, speed, flight direction – everything! It turned out that I was getting a 7 iron about 160 yards on a good swing, which isn’t too bad at all in my opinion. The thing is, I got consistently good readings from the Nike Slingshot irons and only sometimes good from the Callaways. I was rubbish with the TaylorMade clubs!

I was pleasantly surprised at the way I could tell the difference between the clubs after all these years, and with the way I was able to swing them… I thought I’d be pretty poor at both, actually. I know the machine environment is not a golf course, it doesn’t have wind, sun, rain, slopes or the mocking laughter of your comrades trying to put you off… so it wasn’t a real test. The thing is, it was a consistent test, and I really enjoyed the work out it gave me.

So much so, that I left the store with the Slingshots – a good weight, consistent distance and direction, forgiving in those awkward moments and pretty good value for money. They are not top flight clubs, but I am not a top flight golfer. They are not necessarily for beginners, but they would be a very good first club. They seemed to suit me as a returning golfer, and I think they’ll actually help improve my game faster than others would, and that’s what I am after achieving!

I did also try a TaylorMade Burner driver, and loved that – much better than the Nike equivalent or the Ping G15 that was there to test too. So I added that to the set and finished it off with a putter.

Now, for putting I am an old fashioned sort, and I like the ordinary looking putters. I went for a Rife ‘Aussie’ – it felt excellent in my hand and on the carpet putting green, I was having a lot of fun watching my ten foot puts drop in the pot. If only it was like that on a green…

I’ll be testing the set out on a course as soon as I can, and will report back on how they were (and how I was). I am expecting good things.

Today I was caught up with the need to buy a decent camcorder and a few accessories. In the past we have used Sony HVR-Z1 cameras (the same used on the BBC Blast tour) which are well featured and durable, and produce great shots for video work. Sadly, they are now discontinued, and although there is a strong second-hand market for them, it is sometimes better to upgrade.

So up steps the Sony HVR-Z5. Almost identical, but with better optics, more considered ergonomics and additional settings in almost every feature it is a direct replacement and all of the Z1 accessories will still fit. This looked like the right piece of kit, but who to buy from? With almost every site in a google search for camcorders returning some price comparison or review site it is easy to find these things reasonably cheap (OK – £2,500 isn’t cheap, exactly). The thing is, they are mostly offered for sale with the standard one year warranty, and I had hoped for slightly more.

As usual, for all things video we call a select list of suppliers. Today we were delighted with the service from Jeremy at provisiondirect.co.uk. This company has an enviable reputation for great value and excellent product range. We have recommended them to clients looking to purchase kit, and indeed we have made one or two modest purchases there ourselves. Today was the day for buying again!

Jeremy is one of the most knowledgeable and friendly folk when it comes to pro and prosumer video gear. He is often very busy, but when you do get him, he finds the most brilliant pieces of kit for you, and tells you exactly ‘how it is’ with everything. After talking to Jeremy today I was satisfied that they still provide one of the best routes to buying kit, and the value he gives is second to none. So it was that we bought a Z5 with 2 year warranty at probably the most competitive price available. Not content with that Jeremy also added a few extras for us, which was brilliant… unexpected and not asked for. That’s the kind of person you are dealing with – full of information and very willing to help.

It is with great pleasure that I recommend to anyone looking to purchase a decent video camera, lighting, accessories, sound equipment, anything related to video, really provisiondirect.co.uk.

It is with great pleasure I find myself trekking around Yorkshire again, revisiting schools we used as case studies in 2007 when working for YHGfL to produce ‘Virtually There: Learning Platform Research’. This publication was probably the first of its kind in the UK and for 2007 was fairly comprehensive in what it attempted to do. Launched at the annual conference in Castleford, the publication was accompanied by a DVD which held film clips of the teachers actively involved in implementing learning platforms. It was a lovely piece of work to be involved in.

So when we were asked if we would revisit the same schools to capture the next steps in their journey, and create ‘Virtually Where?”, we were delighted! This new project will explore the progress made in two years and once again be presented at the annual conference. This time, however, it will be an entirely online affair, with videos forming the majority of the experience. Our role is to interview, capture, edit and produce the site and content. Wonderful.

In the course of our first trip to one of the most beautiful counties in England, we happened upon Compo’s Cafe. Anyone who has ever heard of ‘Last of the Summer Wine’ will know immediately who Compo was! We went past it before, but didn’t have an opportunity to stop… this time we did, however. Whilst the restaurant was pretty full and busy, the take away chippie was fine – we ordered a portion of chips and sat outside ion the Yorkshire sunshine watching the world go by. A blissful 20 minutes in a hectic schedule! If you get the chance, visit Yorkshire. And even better, grab a bag of chips from Compo’s Cafe!

Compo's Cafe, Holmfirth

http://www.publications.parliament.uk/pa/cm200910/cmselect/cmcumeds/memo/futureformedia/uc5602.htm

Well, it seems to me that PRSformusic have failed to answer the questions asked in a clear manner, evading the essence of the question. It also seems that they may have mislead people in the answers they gave. I’ll happily stand up and be counted here – they *DID NOT* send a letter to my business before phoning up:

Before we call any business, as part of a licensing campaign, we always send a letter. Our letters explain clearly who we are, whom we represent and the licensing requirement. A typical licensing letter to prospective customers is attached as Appendix A.

And when they did call us, they *WERE* aggressive, suggesting most strongly that we would need a license come what may. Failure to purchase a license would result in action being taken against us. They did not enquire whether or not we listened to music, but asked whether we were aware that by listening to music in the workplace we were obliged to buy a license. Only later in the call did they bother to ask if we actually listened to music.

On the notion of double taxation (note, the question held the phrase in quotes, implying it was not a specific phrase, but a colloquialism):

Secondly, there is certainly no ‘double-charging’ when we license workplaces for the use of music, made by any means including radios. Copyright is a bundle of rights including copying, communication to the public (broadcast) and public performance. These rights are usually licensed separately, with a separate licence fee. To suggest there is ‘double-charging’ undermines the entire basis of the bundle of rights defined in the statutory framework.

So – evading the essence of the question, lets point out that it isn’t a tax. Where do PRSformusic state that they DO NOT collect money from radio stations for broadcasting copyright music? No… I didn’t see it either. So we are left wondering whether they collect from the station AND from the listener… a double collection if you will – a double ‘tax’ on listening to music.

On the question whether their activities have had any effect on reducing the number of people who now listen to music in the workplace:

There appear to be many reasons why commercial radio audiences have declined but we are not aware of any data or analysis that suggested that workplace public performance licences are an issue. Indeed, we have not found any published research on declining radio audiences which cites our licences as a factor.

I will say this again and again and again – it is *PRECISELY* because of your activities, PRSformusic, and the heavy handed way in which you are interpreting and applying the rules as you describe them, that has stopped me from listening to music at work. Period. I attribute this entirely to you, and your activities alone. It’s all very well quoting how good it is for people to listen to music whilst they work, but to encourage them and then charge them for the privilege is tantamount to obscenity, in my opinion. So as far as research goes, yours isn’t very good. There is at least one instance where your activities have reduced the amount of music in the workplace. I would guess there are many, many more examples. On the other hand, I bet there are untold numbers of plumbers, painters, chippies, sparks and other tradesmen who couldn’t give a flying one for your license fee… and still listen to music as they happily go about their otherwise very law abiding ways.

As daft as it sounds, we all need to think about how, when and where we listen to music. If we listen to it in such a way that others can hear what we are listening to, and if we do so at work we need to buy a license. Apparently.

I was telephoned recently by PRSformusic, who were rather aggressively telling me that if we listen to the radio or any other source of music in the workplace, we need a license from them. The cost of that license would be calculated on the number of employees, the number of rooms within the workplace where music is played, and the number of half hourly slots the music is played for in the day. I could hardly believe my ears, so I asked for their web address and further information. Here it is: prsformusic.com

So why are we being hounded like this? Apparently, it’s all to do with paying the artists who created the music the right amount of money each time their work is played. I’m all for that, and don’t condone music piracy at all (something to do with once being in some bands) but I got to thinking that this is actually a pretty bad idea. here’s where my thoughts went…

Firstly, I’m listening to radio – the radio station pay a fee for playing the music to their listeners, and they estimate the likely number of those. I happen to be one, along with my work colleagues. Thus, if we listen together at work, the relevant dues have been paid, haven’t they? Why should we now pay again to hear the music the radio station is broadcasting?

Secondly, what if we were out for the day in a park, with a radio and a  football and having some social time as a group? This would also count as listening to music and so a fee would be payable.

Thirdly, what if music is from an internet streamed service… same thing applies, apparently. In fact, the only time it doesn’t is if we listen to music through headphones in private and don’t allow others to hear what we are hearing. So that means we can’t share the enjoyment, I guess. Which puts me in a tricky position – as an employer, if I find an employee listening to music through headphones and I can hear the music too (i.e. they play it loud enough) then I am responsible for paying a license fee. The natural end result of this is I ban music in the workplace, during working hours and everything.

Eventually, I can imagine this will reduce the amount of listening to radio stations and thus audiences will shrink. Ultimately, people won’t hear the new releases and won’t go out and buy the music. How excruciating that would be for the struggling artists! Ultimately, with no outlets (as radio stations close) they have no audiences.

However, listening at home is fine, as long as you are not having a party. And I guess as long as your neighbours can’t overhear you -if you’ve got noisy neighbours playing music, report them to prsformusic rather than environmental health. They’ll extract a license fee to end all that shenanigans!

And what happens if you play in a band and do covers of well known music – does the band have to pay a royalty now?

All in all I can’t help but think this is utter nonsense, completely self-defeating and the biggest load of rubbish yet to come out of any legislation ever. Since records began (pun intended) people have shared their music by playing it for friends, or recording it and passing the record on as a gift. I guess that won’t be allowed now either! Parks are full of people playing music and enjoying themselves. Countless painters and decorators, builders and other tradesmen, factory workers and workshops run all day listening to the radio. It has been a way of life for literally decades. At the birth of radio families and groups of people would gather around the ‘wireless’ to enjoy a tune or two. You’ve only got to watch ‘The Boat that Rocked’ to understand the culture of this.

The only possible solution is for us all to create a track of two using Garageband or anything that allows us to make a tune, register en masse as creators with prsformusic and then sit back and wait for the royalties to come in from them. I rather doubt they will, somehow. Would be good if everyone in the UK did this, (and in any country around the world) as I would think the result would simply be to overwhelm the company. Who don’t appear to be anything more than a group of people who are exploiting copyright law and have maneuvered themselves into a rather too powerful position. It’s not even a government tax (which would have been less of a surprise).

So prsformusic, for being the most aggressive and short sighted company, stripping your fees out of those you purport to pass on to the artists and generally being complete and utter kill-joy bastards to those who live life whilst enjoying the music that has been so freely available for so long, you get today’s ignominious award for the biggest contribution to the death of music. I’d love to see this challenged in a court of law… any decent barristers out there want to take this one on?

Oh… prsformusic, we don’t play the radio at work anyway. Honest.