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The BBC Radiophonic Workshop, one of the Sound Effect s units of the BBC , was created in 1958 to produce effects and new music for Radio , and was closed in March 1998, although much of its traditional work had already been outsourced by 1995. It was based in the BBC's Maida Vale studios in Delaware Road, London , W9, UK growing outwards from the then-legendary ''Room 13''. The innovative music and techniques used by the Workshop has made it one of the most significant influences on Electronic Music today. HISTORY Creation The BBC Radiophonic 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 the BBC , including Desmond Briscoe and Daphne Oram . 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 the BBC 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 to Musique Concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable 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 Radiophonic Workshop in rooms 13 & 14 of the BBC's Maida Vale studios with a budget of £2,000. The Workshop regularly released technical journals of their findings - leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer . Early Days In 1958, Desmond Briscoe 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". Their significant early output included creating effects for the popular science-fiction serial '' Quatermass And The Pit '' and memorable comedy sounds for The Goon Show . In 1959, Daphne Oram left the workshop to set up her own studio, the ''Oramics Studios for Electronic Composition'', where she eventually developed her " Oramics " technique of electronic sound creation. That year Maddalena Fagandini joined 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 dramatic move from the experimental nature of the late 50s dramas to the cheery themes 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 from George Martin (in his pre- Beatles days) 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 including Delia Derbyshire , Brian Hodgson and John Baker , who was in fact a jazz pianist with an interest in reverse tape effects. In these early days, one criticism 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. ''Doctor Who'' See Also: Doctor Who theme music Perhaps the most significant recording in Radiophonic Workshop history came in 1963 when they were approached by composer Ron Grainer to record a theme tune for the upcoming BBC children's television series '' Doctor Who ''. Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of Musique Concrète which has become one of television's most recognisable themes. Upon hearing his composition, which was almost unrecognisable when compared to its score, Grainer famously asked "Did I write that?", declaring that Derbyshire deserved half of his royalties although unfortunately due to BBC policy at the time could not receive any. Over the best part of the next three decades the Workshop contributed greatly to the programme providing its vast range of unusual sound-effects, from the TARDIS to the Sonic Screwdriver , as well as much of its distinctive electronic incidental music, including every score from 1980 to 1985. Such is the relationship between the two that to many the phrase "Radiophonic Workshop" will always be associated with the programme, often to the detriment of the reputation of the Workshop's other output. Changes 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 including Malcolm Clarke , Paddy Kingsland , Roger Limb and Peter Howell . From the early days of a studio full of tape reels and Electronic Oscillator s, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop. In 1977, Workshop 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 they were contributing to over 300 programmes a year from all departments of the BBC and had long since expanded from its early two room setup. Their contributions included material for programmes such as '' The Body In Question '' ,'' Blue Peter '' and '' Tomorrow's World '' as well as sound effects for popular science fiction programmes '' Blake's 7 '' and '' The Hitchhiker's Guide To The Galaxy '' (in both its Radio and Television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively.
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