Formanda: Cherbourg via Shanklin

Formanda passing a ship in the middle of the English Channel

I have lost count of the number of times I have taken a boat to Cherbourg over the years. But never has an occasion been more poignant than this one.

After more than three years of hard refit work on our Beecham Searider 45 Formanda, we deemed her ready for a first cross-Channel adventure. Work and other commitments this year meant we weren’t quite as ready as we would like to be; for example our autopilot installation is still incomplete and hence any passage plans we laid would need to be manually steered. But all systems are sound and in a frantic last weekend of activity the engines were serviced and the last of the rebuild materials stashed ashore.

Of course that just left the weather to contend with. While we were changing oil filters and adjusting tappets on our (lovely!) Perkins Sabre M135 diesels the Round the Island competitors were battling 35 knot gusts south of the Isle of Wight. So sitting out the first part of the week while we fine tuned a few things was no chore. But by Wednesday I got inevitable berth blues and started hatching a plan for an escape of sorts.

With the wind somewhere between NW and W and still up close to 20 knots the Channel crossing was out; I wanted easier conditions for our first post refit passage outside the Solent. But I figured we could anchor safely tucked up somewhere around Sandown and Shanklin. Although the forecast didn’t entirely agree I sensed that the wind would be lighter for a spell in the morning so we could wake up at dawn on Thursday and if the conditions had moderated we could leave, having cut around 14 miles off the passage.

So off we went for an easy couple of hours at seven knots to our intended overnight destination.

There were a few moments to note.

First we somehow managed to upset a safety boat patrolling a dinghy race off Sandown because “didn’t we know we were on the course” (actually we were off the course as far as we could see, had not got within a half mile of any sailors, racing had finished and marks were being retrieved – but ho hum).

Then our trusty 1990s era Raytheon GPS went down; no worries, with perfect visibility, our Garmin 256C GPS and TackTick depth sounder working perfectly all was well. I later rigged our spare GPS (Formanda has big lockers) to give us back redundancy.

Strangest of all though was our overnight experience at our chosen anchorage off Shanklin Chine. Tucked out of the worst of the wind and waves we enjoyed seeing the evening set in while the church bells practiced their tolls and children set free from school played and laughed on the beach. As night fell we started to get ready for a few hours sleep, only to hear the sharp crackle of what sounded like a bonfire with damp wood throughout the length of the boat. No smoke, no smell, just an unremitting snapping and clicking.

After much delving through bilges and lockers we convinced ourselves the sound was underneath Formanda’s hull. I even tapped her solid insides, just to convince myself it was Michelle and I cracking up, not the boat.

It was excellent forensic Googling by Michelle on her iPhone browser that provided the answer: pistol shrimp. The little beastie has a claw that projects a 218dB imploding bubble – enough to stun or kill small fish. We had a whole army of them 6m under the keel. This non-native species is thought to have hitched a lift on a ship; it is now populating several parts of British coastline including, apparently, the area where we stopped.


At sun up the following morning all pistols had been discharged and the wind was similarly quiet. Every encouragement then for weighing anchor and heading south. Soon into the passage we were reminded by the GMDSS notices after the weather forecast that this was strike day for the Coastguard and a limited service might be expected but we hoped not to be adding to their workload anyway.

The Channel was a little bit bumpy at first once we got out of the lee of the Isle of Wight, with waves from the west and south, but gradually settled as the latitude dropped towards the 49s. Even the shipping obliged us with nice gaps to pass safely through and hats off to the Normandie Express fast ferry which seemed to make a course alteration to pass us, and a nearby yacht, with well over a mile of sea to dissipate her wash.

Having left at 0510 we entered Cherbourg’s eastern entrance at 1300, despite punching tide for much of the passage.

We hit a couple of glitches for the tech log, primarily the fuel sender sticking on our day tank. Now cured. And our shower pump-out swallowed a bit of stray boat refit debris which it didn’t like. Also cured.

Of course, after three years largely in a boatyard and then harbour bound we’re also finding some things we forgot, like the need to carry a hose overseas. The large Carrefour supermarket sorted that one out, along with the moules for today’s late lunch and the cakes for our tea. If you are passing Q pontoon in Port Chantereyne we have some pastries left over – but you’ll need to be quick.

A job is not done until it is done

If ever you want evidence that a job is not done until it is done, then look at this video and have a thought for goalkeeper Loris Angeli from Italian seventh division club Dro facing Termeno’s Michael Palma.

Thanks to this little misadventure Termeno apparently secured promotion but Dro and Angeli presumably are the ones acquiring lasting fame…

Kahlenberg UK website launched

Kahlenberg UK website

Kahlenberg UK website

Second website launch of the week, this time for a brand new company – Kahlenberg UK Ltd, formed to handle the European distribution of Kahlenberg Industries, Inc‘s range of marine and industrial air horns, electric horns, compressors, sound signal controllers and accessories.

I have a set of Kahlenberg Zero-Series D-0A air horns on Formanda. Their mighty sound does turn heads and given that the boat in a naval port a quick blast often leaves others looking for a vessel that is altogether larger. We now have stock coming into the Newbury headquarters – it will be so tempting to rig one of the big ship horns that rumble impressively at 130Hz although I’m not sure we have the necessary three-phase supply to the building.

This site is another Joomla build, the third site I’ve launched on that content management platform.

dupre.co.uk website launched

Website for Newbury, Berkshire based business telephone and IT company du Pre plc

Website for Newbury, Berkshire based business telephone and IT company du Pre plc

I can now reveal one of the things that has keeping me out of mischief for the past few weeks, the relaunch of the dupre.co.uk website for Newbury, Berkshire based business telephone and IT company du Pré plc.

The site is now on a fully content managed platform and we’ve taken the opportunity to give all of the content an overhaul. Given that we have an extensive glossary of Telephony and IT terms to migrate there are nearly 1500 redirects to manage among other things and nearly 3500 links to check. Fortunately Integrity made short work of the latter and the Joomla Redirect component is assisting greatly with the former.

We have some great products at du Pré plc, including our du Pré Connect VoIP Hosted telephone system, but the old site didn’t really bring them to the fore so it is good to get that sorted now.

This is the second site I have built using Joomla; I’m really warming to this platform and have a further site to launch on it during this coming week, so a bit of a website fest currently.

Amateur lighting designer – geek or artist?

The Gondoliers performed by Reading Operatic in 2005

The Gondoliers performed by Reading Operatic in 2005

I’ve noticed that it is almost universally the case (by which I mean I haven’t seen anything different) that lighting designers for amateur shows get a credit that is always one line and buried somewhat in the middle of the backstage crew. Whereas most professional lighting designers seem to pop up with some kind of mini biog in the middle of the production team.

I have half-an-idea why this might be the case.

My theory runs that there is potential for confusion over the role, caused by the fact that the lighting designer in amateur theatre is often the amateur lighting designer/rigger/cabler/focuser/programmer/pluggerinner/operator – or in other words the boy or girl in black who knows how it all works; the lampie geek that can make it all sing to his or her tune. In some cases I dare say that is the major motivation for the person in that role too – they get their kicks by plugging maximum stuff up, powering up, pointing it in the right direction, triumphing over the desk and seeing how many cues they can fit into the show for a given (always tight) timeframe. I cannot deny the fascination in that.

But equally I’m sure there are plenty of examples where the amateur lighting designer is interested in painting pictures, in creating moods and in ensuring that the drama, excitement and presence on stage transmits with maximum effect betwixt cast and audience. That’s me too. I always want to be an intrinsic part of the production team, engaged in the earliest possible stages of a show to understand what is being created and to provide guidance where required as well as sweating out its always frantic final run ins.

Is the role any more important than the director, producer, MD, designer, choreographer, stage manager or costumier? No of course not. But just as a production would look a bit sick without direction, the cast a bit boring without costumes and a musical completely pointless without music, I’d argue it would all look pretty awful too in most cases without being creatively (and often simply) lit.

PDF file conversion online

PDF OnlineI was taking my annual refresher course in page layout over the past few days, designing the programme for the Salvation Army’s Carol Concert in Reading. One problem was the arrival of a file in .pub format (Microsoft Publisher). Not much use when using Adobe Creative Suite programmes.

A quick Google later and I found the PDF Online site. Not too much more to say about this except it worked. Due to the file size I had to sign up to the premium service but this is in beta and currently free. A couple of minutes later I had a perfectly converted PDF in my email inbox. Excellent!

A tale of two 99s

Final scene from the Mostly G and S concert production of The Yeomen of the Guard

Final scene from the Mostly G and S concert production of The Yeomen of the Guard

Strange to relate but the last two weekends have seen me plot two entirely separate shows and wind up with 99 cues for each.

The first was the Mostly G&S production of The Yeomen of the Guard. Although concert in nature I tried to give it a theatrical feel and made good use of the Oakwood Centre’s excellent ETC Source 4 Junior Zooms and Parnels, aided by some much older Strand 813, 823, 123 and 743 lanterns. The desk there is a Frog and it and I got along really well this time around; I was particularly happy to suss out how to properly edit cues. My first time there six months back had left me short of time to sort out the more subtle aspects of this board which, given a lack of command line, needs to be handled differently. Back-up is via 1.44in floppy drive – I knew there was a reason I kept a box of those!

Then to the Kenton in Henley-on-Thames, Britain’s fourth oldest working theatre. The hard-working volunteer team there run a tight ship and given the timescale I was happy to leave the fixed 70 lantern rig in place and colour and focus it in situ for Sainsbury Singers’ Strictly Musicals. There’s a really eclectic mix of lanterns in this theatre, with Strand Harmony, Patt23, Patt23N and a pair of 743s front of house and a bar each of 10 Patt123s, PreludeFs and Cantata Fs on stage. I particularly liked the ‘cyc’, a well-faired back wall painted dove grey and lit by five four-way sets of Coda 500s. It took the light very well and also worked well with some gobos projected onto it.

The board there is a Strand M24 Tempus, solid but definitely limited by its era. The monitor had a loose connection which caused it to blue screen a few times and there are no point cues (although you can link cues out of turn) so a frantic afternoon of plotting kept op Peter Harley on his toes. Back-up on the Tempus was to a tape recorder in its day; not something we could do so I must admit to somewhat reluctantly leaving the board on Saturday night, hoping it would all still be there on the Sunday.

The Kenton has DMX in place now so I’ll be taking a more modern board in if I get to go again. Speaking of which, after much prevarication I’ve finally bitten the bullet and ordered Light Factory, along with hardware playback and programming wings. I’ve looked at several PC and Apple-based solutions including the very well recommended MagicQ. But despite the dual appeal of this system being free to download and able to run natively on a Mac I just didn’t find it intuitive; Light Factory is probably a lot more old-fashioned in its user interface but that suits me just fine.

If I can get my run own rig converted to DMX in time I’ll run a show on this system in February next year…and be practising and testing before then.

Next stop is the Reading Concert Hall next weekend to light Strictly Musicals for Sainsbury Singers again; the music will be the same but the setting very different. Will this be a third 99? I doubt it but who knows.

Tickets are still available, so if you come along I’ll be at the back of the balcony calling the cues that should hopefully make the venue’s Mac 500s, 600s and par can scrollers dance to some of the West End’s best tunes.

Les Miserables 25th anniversary concert

End of Act 1 at the 25th anniversary Les Miserables concert

End of Act 1 at the 25th anniversary Les Miserables concert

A little late writing about this but Michelle and I had a terrific time at the 25th anniversary Les Misérables concert at the O2 on 3 October..

Seeing Lea Salonga play Fantine was worth the ticket price alone but to single her out would be wrong. Alfie Boe (Jean Valjean), Norm Lewis (Javert), Jenny Galloway (Madame Thénardier), Ramin Karimloo (Enjolras), Samantha Barks (Éponine) and Katie Hall (Cosette) all put in strong performances befitting the occasion. The Royal Philharmonic provided a suitably grand accompaniment and the casts of both the Palace Theatre and the 25th anniversary tour added real weight and enthusiasm.

Two celebrities from the broader world of entertainment took to the stage. The weak one was Nick Jonas as Marius. His voice was relatively lightweight and he sounded like he struggled with the range of the part; perhaps understandable, given he is only 18, but regrettable as Jonas couldn’t balance with the other leads. In contrast Matt Lucas, was nothing short of brilliant as Thénardier, dishing up a character a Les Mis-mad audience could recognise but with his own twist of humour thrown in.

Billed as a concert, Les Misérables 25 was in effect semi-staged with full costume and entrances and exits, many through a very effective central portal through the set, a much more theatrical approach than the 10th anniversary Albert Hall edition. The excellent lighting was co-designed by Paule Constable and Patrick Woodroffe; it owed a lot to rock concert design, with moving trusses playing an integral part in the barricade scene. Giant hazers whirrred away stage left and right to give the extensive rig something to bite on across the height of the O2 arena.

However, as much as I am typically glued to the technical aspects of grand productions such as this one the highlight of the event for me was the appearance at the end of several leading players from the original 1985 Les Misérables cast including Colm Wilkinson and Michael Ball. The audience was already on its feet when a four tenors rendition of ‘Bring Him Home’ by Wikinson, Boe, John Owen-Jones (Valjean in the 25th tour) and Simon Bowman (Valjean in the Palace Theatre production) brought the house down.

Fantastic!

Space Virgin takes flight

Falling neatly into the ‘I Want (to go on) One of Those’ category Virgin Galactic‘s SpaceShipTwo, called the VSS Enterprise has fled the nest of its twin fuselage four turbofan-powered WhiteKnightTwo mothership Eve and glided down to land on its own for the first time at Mojave Air and Space Port in California, USA.

VSS Enterprise is designed to carry six passengers and fly at up to Mach 3.5 at 68 miles altitude, just under a third of the way up to the International Space Station. The first test release was at 45,000ft; just 5000ft lower than the planned unhook altitude for its rocket ascent into a sub-orbital trajectory. In the video you see a relatively steep angle of approach but then a very long flare in a smooth landing. Not shown was an earlier mock approach conducted at altitude by pilot Pete Siebold and co-pilot Mike Alsbury.

Virgin Galactic states it has 370 passengers in the queue and ticket deposits on hand of $50m, which at a guess means some have paid to join the fast-track. The starting price for a standard space ticket is $200,000, which sounds a lot but is small change compared to thumbing a lift on a Soyuz up to the ISS; about $19.8m less by all accounts although they does include going fully orbital with a stay to discover the delights of zero gravity toilets and the like. If you are fascinated check out Space Adventures or even the website of Dr Charles Simonyi, who liked the experience so much he did it twice. You can even apply (given a fare supplement, presumably) to be the “first private citizen to undertake a space walk”, which sounds fun but might not be that much of a claim, given that other non-military types can claim an EVA on their CV.

The futuristic Foster-designed $200m Spaceport in New Mexico will be state-funded, which will no doubt help to keep costs in check. Even that number seems a little bit interesting when realising the cost of a single Space Shuttle flight could build nearly eight of them, provided of course the land could be obtained at desert pricing.

Test fire of the hybrid rocket motor for the Virgin Galactic SpaceShipTwo project

Test fire of the hybrid rocket motor for the Virgin Galactic SpaceShipTwo project. Image Virgin Galactic

The next significant step in the programme will to flight test the hybrid rocket motor that powers SpaceShipTwo; fuelled by nitrous oxide (laughing gas) and a rubber compound this unit appears to be about as revolutionary as the rest of Bert Rutan’s ingenious creations at Scaled Composites. How many ‘burnin’ rubber’ headlines will get written one wonders?

I love hunkering down with a good book on the Apollo programme and have chalked up a couple of slack-jawed visits to the Kennedy Space Center in Florida. I remember watching grainy images of the moon landing on my primary school TV and four decades later continue to admire the efforts of those crop-headed double-degree test pilots who sat on top of giant missiles, something they still need to do to this day.

It might not be proven yet whether VSS Enterprise will represent space for the 21st Century or the ultimate fairground ride. But in context of the soon-to-be-retired Space Shuttle and what somehow feels like the regressive step NASA is taking towards capsules with the Boeing CST-100 project it is definitely very different, especially as many of the leading Virgin rocketeers have distinctly British accents.

Gale break

Synoptic chart for 1 October 2010

Synoptic chart for 1 October 2010

Here’s one of the reasons why our intended mini break on Formanda has not ventured beyond a Haslar Marina pontoon this week. As I write the wind is blowing around 33-40 knots more or less onto the aft end of the boat and we’re watching rainwater being bullied in troubled furrows uphill along the reverse sheer of her decks. A good time to be sat alongside a bit of wood with several lengths of string secured to it.

Ah well, when you book these things you always have an Indian summer in mind and try to ignore the fact that, sat uncomfortably close to the equinox, late September can be a little emotional.

Will be interesting to see if yesterday’s brave attempt at varnishing has survived the onslaught. Meantime, an all stations message to whoever is doing a rain dance: please desist, it’s working just a bit too well.