Wikipedia

BBC Radiophonic Workshop

"Radiophonic" redirects here. Not to be confused withRadiophonic (song).

TheBBC Radiophonic Workshopwas one of thesound effectsunits of theBBC,created in 1958 to produceincidental soundsand new music for radio and, later, television. The unit is known for its experimental and pioneering work inelectronic musicandmusic technology,as well as its popular scores for programmes such asDoctor WhoandQuatermass and the Pitduring the 1950s and 1960s.[1]

A collection of equipment from the Radiophonic Workshop, on display at theScience Museum,London

The original Radiophonic Workshop was based in the BBC'sMaida Vale Studiosin Delaware Road,Maida Vale,London.[2]The Workshop was closed in March 1998,[3]although much of its traditional work had already been outsourced by 1995.[2]Its members includedDaphne Oram,Delia Derbyshire,David Cain,John Baker,Paddy Kingsland,Glynis Jones,Maddalena Fagandini,Richard Yeoman-ClarkandElizabeth Parker,the last to leave.[4]

History

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The Workshop was set up to satisfy the growing demand in the late 1950s for "radiophonic" sounds from a group of producers and studio managers at theBBC,includingDesmond Briscoe,Daphne Oram,Donald McWhinnie,andFrederick Bradnum.[5][6][7]For some time there had been much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular the dramatic output of theBBC Third Programme.Often the sounds required for the atmosphere that programme makers wished to create were unavailable or non-existent through traditional sources and so some, such as the musically trained Oram, would look to new techniques to produce effects and music for their pieces. Much of this interest drew them tomusique concrèteand tape manipulation techniques, since using these methods could allow them to createsoundscapessuitable for the growing range of unconventional programming. When the BBC noticed the rising popularity of this method they established a Radiophonic Effects Committee, setting up the Workshop in rooms 13 & 14 of the BBC's Maida Vale studios with a budget of £2,000. The Workshop contributed articles on their findings to magazines,[8]leading to some of their techniques being borrowed by sixties producers and engineers such asEddie Kramer.[9]

Early days

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Maida Vale Studios

In 1957, Daphne Oram set up[10]the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems".[11]Their significant early output included creating effects for the popular science-fiction serialQuatermass and the Pitand memorable comedy sounds forThe Goon Show.In 1959, Daphne Oram left the workshop to set up her own studio, theOramics Studios for Electronic Composition,where she eventually developed her "Oramics"technique of electronic sound creation. That yearMaddalena Fagandinijoined the workshop from the BBC's Italian Service.

From the early sixties the Workshop began creating television theme tunes and jingles, particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance fromGeorge Martin(in his pre-Beatlesdays) and commercially released as a single using the pseudonym Ray Cathode. During this early period the innovative electronic approaches to music in the Workshop began to attract some significant young talent includingDelia Derbyshire,Brian HodgsonandJohn Baker,who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined byDavid Cain,a jazz bass player and mathematician.[12]

In these early days, one criticism[citation needed]the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, but also because of the unique combinations and workflows which the Workshop afforded its composers. In later years this would become less important as more electronic equipment became readily available to a wider audience.[13]

Doctor Who

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Main article:Doctor Who theme music

In 1963 they were approached by composerRon Grainerto record a theme tune for the upcoming BBC television seriesDoctor Who.Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles",Delia Derbyshirecreated a piece ofelectronic musicwhich has become one of television's most recognisable themes.[12][14]Over the next quarter-century the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from theTARDISdematerialisation to theSonic screwdriver,as well as much of the programme's distinctive electronicincidental music,including every score from 1980 to 1985.

In 2018Matthew Herbert,creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the newDoctor Whologo debuting later that year.[15]

Changes

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EMS VCS 3(Putney)
EMS Synthi 100(Delaware)

As the sixties drew to a close, many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers. Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created. This led to many leaving the workshop making way for a new generation of musicians in the early 1970s includingMalcolm Clarke,Paddy Kingsland,Roger LimbandPeter Howell.From the early days of a studio full of tape reels andelectronic oscillators,the Workshop now found itself in possession of various synthesisers including theEMS VCS 3and theEMS Synthi 100nicknamed the "Delaware" by the members of the Workshop.

In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over.

By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name. By the end of the decade the workshop was contributing to over 300 programmes a year from all departments of the BBC and had long since expanded from its early two-room setup. Its contributions included material for programmes such asThe Body in Question,Blue PeterandTomorrow's Worldas well as sound effects for popular science fiction programmesBlake's 7andThe Hitchhiker's Guide to the Galaxy(in both itsradioandtelevisionforms) byRichard Yeoman-ClarkandPaddy Kingslandrespectively.

BBC Radiophonic Workshop, "SoundHouse", Whale Theme excerpt
An excerpt fromWhale Themefrom theHitchhikers Guide to the GalaxyTV series (music only), BBC Radiophonic Workshop
Problems playing this file? Seemedia help.

Latter days

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By the early 1990s, BBC Director GeneralJohn Birtdecided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs. In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton) and a secretary (Maxine) as well as the composers, proved too much and so they failed. Dick Mills, who had worked onDoctor Whosince the very beginning, left in 1993,[16]along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition.

In 1995, despite being asked to continue, organiser Brian Hodgson left the Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer,Elizabeth Parker,remained. The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of the workshop previously done by Dick Mills) continued working in Studio E, now called "Radiophonics" until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work. Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened.

Legacy

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Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be "cleared". Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away. Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers.[citation needed]

In October 2003,Alchemists of Sound,an hour-longtelevision documentaryabout the Radiophonic Workshop, was broadcast onBBC Four.[17]

The Magnetic Fieldstitled the first track of their albumHoliday,after the BBC Radiophonic Workshop.

Live reunions since 2009

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Dick Mills, BBC Radiophonic Workshop reunion live at the Roundhouse in 2009.

In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composersRoger Limb,Paddy KingslandandPeter Howellwith archivistMark Ayresfor a live concert atThe Roundhouse,Chalk Farm, London, performing as "The Radiophonic Workshop". The composers, backed by a small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music fromThe Hitchhikers' Guide to the GalaxyandDoctor Who(including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert.

The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of the Workshop includingDaphne Oram,Delia DerbyshireandJohn Baker.The two and a half-hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements ofDoctor Who,segueing into a new Radiophonic version of the theme tune. Celebrated attendees included actor/writer/composerPeter Serafinowiczand satirist/writer/broadcasterVictor Lewis-Smith.Multiple cameras recorded the event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube.[citation needed]

In 2013 the original members of the Workshop regrouped again for a more concerted programme of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on a new recording project set for release in Autumn of 2014. This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers. Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November. The shows featured archive TV and visuals from many of the TV and film soundtracks that the Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated. The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci, the Doctor Who Medley and a new composition – Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design. There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who.

The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals includingEnd of the Road Festival,and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings.

2012 online revival

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In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians. The new Workshop was based online atThe Space,[18][19][failed verification]a joint venture between the BBC andArts Council England.ComposerMatthew Herbertwas appointed the new Creative Director, and worked alongsideMicachu,Yann Seznec,Max de Wardener,Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside.[2]

Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on the website – from theater performances to poetry readings, creating a "curious murmur of activity". It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website.[20]

The New Radiophonic Workshop,[21]not to be confused with the reactivated Radiophonic Workshop[22][23]whose members are original BBC personnel,[24][8][25][26][23][27][28]an entirely separate entity from the original unit, was assembled by Mathew Herbert as an online collective of composers forThe Space[29]arts project.

Techniques

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Tape manipulation tools:
tape recorder, tape splicer, and mending tapes.
Sine wave oscillator

The techniques initially used by the Radiophonic Workshop were closely related to those used inmusique concrète;new sounds for programmes were created by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations, audio tape could be played back at different speeds (altering a sound's pitch), reversed, cut and joined, or processed usingreverbor equalisation. The most famous of the Workshop's creations using 'radiophonic' techniques include theDoctor Whotheme music, whichDelia Derbyshirecreated using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS (the Doctor'stime machine) materialising and dematerialising, which was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound.[30]

Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece. Reverberation was obtained using anecho chamber,a basement room with bare painted walls empty except for loudspeakers and microphones. Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction.

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The Radiophonic Workshop published "Radiophonics in the BBC" in November 1963,[31]listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes. The Radiophonic Workshop also contributed articles[8]to magazines of its experiments, complete with instructions and wiring diagrams.[8]

British psychedelic rock groupPink Floydmade a memorable trip to the workshop in 1967. They had employed tape loops, sound effects, found sounds and the principles of musique concrete on their debut albumThe Piper at the Gates of Dawnfrom that same year. Other fans of the Radiophonic Workshop includedThe Rolling Stones'Brian Jones– who visited in 1968 – andRoger Mayer,who suppliedguitar pedalstoJeff Beck,Jimmy PageandJimi Hendrix.Phil Manzanerahas also cited the Workshop as an influence on the sound of his groupRoxy Music.[32]

In 1997 theelectronic dance musicmagazineMixmagdescribed the Workshop as, "the unsung heroes of Britishelectronica".[33]Their work has beensampledextensively by contemporary electronic artists.[1]

Members of the Radiophonic Workshop

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1958–1998

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2009–present

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Discography

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Main article:BBC Radiophonic Workshop discography

Main albums

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Selected other works

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Radio dramas

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Sound effects and music contributions

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Doctor Whoincidental music

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TheDoctor Whotheme musicwas provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985 the complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete[citation needed]list of incidental music provided by the Radiophonic Workshop for the programme.

Works about Radiophonic Workshop

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  • Radio
    • The Sound Makers(1963)[37]
    • The Electric Tunesmiths(1971)
      • Repeated as part ofSelected Radiophonic Worksin 2008.[38]
    • The Space Between(4 October 1973)[39]
    • Wee Have Also Sound-Houses(1979)
    • Sound in Mind(1979)
    • The Entertainers(CBC 1982)[40]
    • Late Junction: 12 February 2008[41][42]
    • Sunday Feature: Wee Have Also Sound-Houses(2008)[43][44]
    • Stuart Maconie's Freak Zone: 26 October 2008[45]
    • Selected Radiophonic Works(2008)[46]
    • Jonny Trunk's OST Show – 2 Hours With Paddy Kingsland
    • Jonny Trunk's OST Show – David Cain Interview
  • Television
    • The Same Trade as Mozart(1969)
    • The New Sound of Music(1979)
    • The Electric Music Machine, Five Days at the BBC Radiophonic Workshop(1988)
    • Alchemists of Sound(2003)[17]
    • What the Future Sounds Like(2009)
  • Books
    • Special Sound: The Creation and Legacy of the BBC Radiophonic Workshopby Louis Niebur (Oxford University Press,2010)
    • An Electric Storm: Daphne, Delia and the BBC Radiophonic Workshopby Ned Netherwood (Obverse Books,2014)

See also

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References

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  1. ^abAnkeny, Jason."BBC Radiophonic Workshop – Biography & History".AllMusic.Retrieved5 December2017.
  2. ^abc"BBC Radiophonic Workshop revived online".BBC News.12 September 2012.
  3. ^"The BBC Radiophonic Workshop – New Songs, Playlists & Latest News – BBC Music".BBC.Retrieved17 April2017.
  4. ^"Elizabeth Parker - flexible working".Sound on Sound.Retrieved13 July2023.
  5. ^John Tydeman,"Frederick Bradnum, Master dramatist whose prolific output sustained radio's great era" inThe Guardiandated 22 February 2002
  6. ^An Electric Storm,Ned Netherwood,Obverse Books,Chapter 1
  7. ^Reynolds, Simon. "For 40 Years, the BBC's Radiophonic Workshop Created" Special Sound' for Programmes from Doctor Who to Woman's Hour ".The Guardian.
  8. ^abcdThereaux, Oliver (23 May 2012)."BBC – Research and Development: Audio on the Web – Rediscovering the era of the Radiophonic Workshop".BBC.Retrieved31 May2023.the workshop team did not publish its own journals, but had, through the years, contributed a number of articles to magazines such as Practical Electronics, Studio Sound and the Dr. Who Magazine.
  9. ^Shapiro, Harry; Glebbeek, Caesar (17 November 2014).Jimi Hendrix. Una foschia rosso porpora(in Italian). LIT EDIZIONI.ISBN978-88-6231-758-0.
  10. ^"The woman who could 'draw' music".BBC.
  11. ^Hugill, Andrew (25 June 2012).The Digital Musician.Routledge.ISBN978-1-136-27988-1.
  12. ^abPierce, Derek (May 1982)."A History Of Electronic Music".Electronics & Music Maker.Retrieved18 January2024– via Mu:zines.
  13. ^Hewett, Ivan (22 June 2016)."The women who invented electro: inside the BBC Radiophonic Workshop".The Daily Telegraph.Retrieved17 April2017.
  14. ^Niebur, Louis (19 December 2006)."Obituary: Desmond Briscoe".The Guardian.ISSN0261-3077.Retrieved20 September2017.
  15. ^Jeffery, Morgan (20 February 2018)."Doctor Who series 11 gets new logo and image".Digitalspy.com.
  16. ^Harrison, Andrew."Doctor Who: The most important electronic music ever?".BBC.
  17. ^ab"Alchemists of Sound".BBC.20 October 2003. Archived fromthe originalon 20 October 2003.Retrieved14 September2012.
  18. ^"FAQs: Studio 30, Fazeley Studios, 191 Fazeley Street, B5 5SE, Birmingham".thespace.org.27 April 2016.Retrieved17 April2017.
  19. ^"The Space".YouTube.Retrieved17 April2017.
  20. ^"The Space – The Arts live, free and on demand".archive.org.Archived from the original on 24 September 2012.Retrieved17 April2017.{{cite web}}:CS1 maint: bot: original URL status unknown (link)
  21. ^"The New Radiophonic Workshop".thenewradiophonicworkshop.com.Retrieved17 April2017.
  22. ^"Recreating the sounds of the BBC Radiophonic Workshop".BBC.
  23. ^ab"BBC – Research and Development: Audio on the Web – Explore the BBC sound of the 1960s".BBC.Retrieved17 April2017.
  24. ^"BBC – Research and Development: Prototyping Weeknotes #97".BBC.Retrieved17 April2017.
  25. ^Thereaux, Olivier."BBC – Research and Development: Audio on the Web – Knobs and Waves".BBC.Retrieved17 April2017.
  26. ^Lowis, Chris."BBC – Research and Development: IRFS Weeknotes #125".BBC.Retrieved17 April2017.
  27. ^Warren, Pete."BBC – Research and Development: IRFS Weeknotes #128".BBC.Retrieved17 April2017.
  28. ^Ferne, Tristan."BBC – Research and Development: IRFS Weeknotes #130".BBC.Retrieved17 April2017.
  29. ^"Build skills".thespace.org.5 April 2016.Retrieved17 April2017.
  30. ^"Radiophonic Workshop: A Glimpse of Current Activities".Electronics & Music Maker.March 1981.Retrieved18 January2024– via Mu:zines.
  31. ^""Radiophonics in the BBC",BBC Engineering Division Monograph#51 "(PDF).BBC.November 1963.
  32. ^Muggs, Joe (23 November 2013)."Radiophonic Workshop: the shadowy pioneers of electronic sound".The Guardian.Retrieved30 July2016.
  33. ^Mixmag,March 1997.
  34. ^"Biography".Bob Earland.Retrieved3 October2022.
  35. ^"Paddy Kingsland – Record Store Day".Record Store Day.Archived fromthe originalon 10 March 2018.Retrieved9 March2018.
  36. ^"Desmond Briscoe, The BBC Radiophonic Workshop – Record Store Day".Record Store Day UK.[permanent dead link‍]
  37. ^BBC Radiophonic Workshop - The Sound Makers (1963).David Huggins.Retrieved18 December2022– via YouTube.
  38. ^"BBC Radio 4 Extra – Selected Radiophonic Works".BBC.14 July 2012.Retrieved14 September2012.
  39. ^"mb21's page forThe Space Between".Mb21.co.uk.4 October 1973.Retrieved14 September2012.
  40. ^"CBC the Entertainers the BBC Radiophonic Workshop 24 Th Anniversary ( 1982)".1982.
  41. ^"BBC Radio 3 – Late Junction, 12/02/2008".BBC.12 February 2008.Retrieved14 September2012.
  42. ^"Radio 3 – Late Junction – 50 years of the BBC Radiophonic Workshop".BBC.Retrieved14 September2012.
  43. ^Miranda Sawyer (10 August 2008)."Radio review: Miranda Sawyer on the week's best listening | Television & radio".The Guardian.London.Retrieved14 September2012.
  44. ^Culture Reviews (5 August 2008)."On radio: Alvin Hall's World of Money".The Daily Telegraph.London. Archived fromthe originalon 22 April 2013.Retrieved14 September2012.
  45. ^"26/10/2008, Stuart Maconie's Freak Zone – BBC Radio 6 Music".BBC.Retrieved30 July2016.
  46. ^"Selected Radiophonic Works – BBC Radio 4 Extra".BBC.Retrieved30 July2016.

Further reading

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