In article ,
Iain Churches wrote:
No self-respecting editor would want to do such work, so it was usually
given to trainees, who were instructed to "keep all the bits" (which
they did, numbered with white chinagraph pencil, and stuck to the front
of the tape machine with editing tape in the right order, until their
engineer or producer approved the job)

Ah. Forgot you never worked in the real world of broadcast. ;-)

No. Thought I have recorded countless project
that have been broadcast. But not quite the same
thing:-)

No it's not. You might have endless time available to do something. For
broadcast, the clock is usually ticking. If only for cost reasons.

When I was thinking about a career, I found that,
using three criteria, training, salary levels and
prospects, broadcast came right at the bottom
of the league table.

I'm glad you made the right choice for you, Iain. Others might enjoy the
challenge of working in broadcast. In much the same way as some may prefer
working on a live concert to recording a performance in a studio.

Besides, I wanted to work in a company
were things were done properly.
In the "real world of broadcast", your plexi
screens around drummers, and lapel mics stuck
to the bridges of violins with BluTack, were
clearly not optimum solutions:-)

You never attend live music events, then?

--
*A fool and his money can throw one hell of a party.

Dave Plowman London SW
To e-mail, change noise into sound.