"Dave Plowman (News)" wrote in message
...
You have rather obviously no conception of the size of the BBC. ;-)

Please don't try to tell me there was no co-operation between
departments, because I know that is not correct.

We went to BH several times to discuss ideas.
They had a number of cryptically-numbered black
boxes which they demonstrated to us, and some very
clever people. They could have easily done it for you.

Are you saying BBC radio regularly produced 'stereo' from mono? I'd be
surprised.

Please read again.
Like many others BBC Radio were experimenting
to see what could be done in the field of mono to
stereo conversion. As a result of our meetings at
BH a colleague and I were invited by Desmond Briscoe
to visit the BBC Radiophonic Workshop at Maida Vale.
He was surprised to meet people from outside the Beeb
who had both a technical and musical background (like himself)
and who were familiar with the wonderful ARP 2500 synthesizer.

Ah. Right. You mentioned Broadcasting House only, inferring it was
something in regular use. A standard production tool.

No inference at all.
BH was the place where the meetings were held.

The Radiophonic Workshop could well have made use of all sorts of weird
and wonderful devices. That was what they did.

They were not involved in mono to stereo as far as I know.
My colleague and I kept contact with Mr Briscoe, and
visíted often. They were pleased to talk with people on
the same wavelength, and with the similar skillsets.

Iain

In article ,
Iain Churches wrote:
Ah. Right. You mentioned Broadcasting House only, inferring it was
something in regular use. A standard production tool.

No inference at all.
BH was the place where the meetings were held.

But you suggested I ask for help there?

The Radiophonic Workshop could well have made use of all sorts of weird
and wonderful devices. That was what they did.

They were not involved in mono to stereo as far as I know.

Ah. OK. So why mention it?

My colleague and I kept contact with Mr Briscoe, and
visíted often. They were pleased to talk with people on
the same wavelength, and with the similar skillsets.

Nice to know both he and you had plenty spare time for social interaction.
;-)

--
*Virtual reality is its own reward *

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

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
Ah. Right. You mentioned Broadcasting House only, inferring it was
something in regular use. A standard production tool.

No inference at all.
BH was the place where the meetings were held.

But you suggested I ask for help there?

Yes indeed. They had some very knowledgeable
people, who were able to work without the
visual restraints imposed by cameras. (If they needed
a ten foot mic tripod in the centre of the studio, then that's
where it went:-)

The Radiophonic Workshop could well have made use of all sorts of weird
and wonderful devices. That was what they did.

They were not involved in mono to stereo as far as I know.

Ah. OK. So why mention it?

Because it was one of the most interesting departments
of the BBC. Few people from outside, or even from
other departments within the BBC, got the chance to
go there.


They were pleased to talk with people on
the same wavelength, and with the similar skillsets.

Nice to know both he and you had plenty spare time for social interaction.
;-)

I worked 60 hours a week, so not much spare time:-)
Planning and production meetings, and the development
of new ideas, were an important part of each and
every project.

Iain

In article ,
Iain Churches wrote:

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
Ah. Right. You mentioned Broadcasting House only, inferring it was
something in regular use. A standard production tool.

No inference at all.
BH was the place where the meetings were held.

But you suggested I ask for help there?

Yes indeed. They had some very knowledgeable
people, who were able to work without the
visual restraints imposed by cameras. (If they needed
a ten foot mic tripod in the centre of the studio, then that's
where it went:-)

But not apparently on making decent stereo from mono?

We were much more sophisticated in TV studios. If you wanted a slung mic
or two, there were electrically operated hoists to put them on. And keep
the floor clear for more important things. ;-)

The Radiophonic Workshop could well have made use of all sorts of weird
and wonderful devices. That was what they did.

They were not involved in mono to stereo as far as I know.

Ah. OK. So why mention it?

Because it was one of the most interesting departments
of the BBC. Few people from outside, or even from
other departments within the BBC, got the chance to
go there.

Lots of very interesting departments in the BBC, Iain. Or rather once
were. Did you never visit Kingswood Warren?


They were pleased to talk with people on
the same wavelength, and with the similar skillsets.

Nice to know both he and you had plenty spare time for social interaction.
;-)

I worked 60 hours a week, so not much spare time:-)
Planning and production meetings, and the development
of new ideas, were an important part of each and
every project.

Iain

--
*Is it true that cannibals don't eat clowns because they taste funny?

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

"Iain Churches" wrote in message
...

"Phil Allison" wrote in message
...

He rang me in a panic one day saying the FM station had rejected his
tape,
claiming is was "out of phase". So I went to the studio, checked his set
up and listened to the tape on headphones. When switched to mono it
sounded fine, so was not out of phase.

I then rang the FM station and eventually go onto the guy who had
condemned the tape. He explained that his stereo modulation monitor
showed
the tape was OOP.

When pressed for more detail he grudgingly went on to say that the L
channel meter regularly a read higher than the sum meter and this meant
it
was OOP.

The problem was simple: my customer has panned the bass guitar hard left
in the mix, the piano hard right and drums in the centre.

That would have been OK if the modulation level was
not too high. BGtr and Bass Drum (also Floor Tom) would
have been safer in the centre or Bass Phased at the console

He re-mixed the tape with bass in the CENTRE and it got played on air.

The safest and most sensible solution of all:-)

Many folk groups, (example vox, guitar and string bass)
were recorded with the guitar left, vocal centre
and bass right.



Your post got me thinking, Phil
As I mentioned above, many folk recordings in the
60s were made with vocal centre, bass right and
guitar left.

So I decided to put together a rhythm track, Piano,
BsGtr, and Drums like the one you mentioned.

Here it is with the BGtr panned left, Drs centre
(except for overheads which I left split) and piano
right.

http://www.kolumbus.fi/iain.churches...st/BgGtr01.mp3

Here is the same track with BGtr centre, Drs left
and piano right.

http://www.kolumbus.fi/iain.churches...est/BGtr02.mp3

Phase analysis segment 1
http://www.kolumbus.fi/iain.churches...GtrPhase01.jpg

Phase analysis segment 2
http://www.kolumbus.fi/iain.churches...GtrPhase02.jpg

Version2 is certainly a lot safer
But nevertheless, I like the bass on the left:-)
I can understand why you friend was asked to remix it:

Iain

PS Anyone know the tune to this rhythm track?

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
BH was the place where the meetings were held.

But you suggested I ask for help there?

Yes indeed. They had some very knowledgeable
people, who were able to work without the
visual restraints imposed by cameras. (If they needed
a ten foot mic tripod in the centre of the studio, then that's
where it went:-)

But not apparently on making decent stereo from mono?

Yes. They had some interesting ideas. No-one was
labouring under the miscoception that stereo could be made
from mono. We talked about the stereo illusion.

I ask again, did you listen to my demo?
http://www.kolumbus.fi/iain.churches...StereoDemo.mp3

Your comments would be of interest.

We were much more sophisticated in TV studios. If you wanted a slung mic
or two, there were electrically operated hoists to put them on. And keep
the floor clear for more important things. ;-)

Or stick the mic on with a lump of BlueTak :-)))

Lots of very interesting departments in the BBC, Iain. Or rather once
were. Did you never visit Kingswood Warren?

Yes. A friend of our family was a senior project engineer
there. It was he who suggested to me a career at the BBC.
It's probably long closed?

Iain

In article ,
Iain Churches wrote:
But not apparently on making decent stereo from mono?

Yes. They had some interesting ideas. No-one was
labouring under the miscoception that stereo could be made
from mono. We talked about the stereo illusion.

Thought I made by point earlier. You can't make good stereo from mono.
Any more than you can change lead into gold. But that has never stopped
people trying.

I ask again, did you listen to my demo?
http://www.kolumbus.fi/iain.churches...StereoDemo.mp3

Your comments would be of interest.

Heh heh. Think what you actually mean is you want comments that you can
attempt to score points from. ;-)

We were much more sophisticated in TV studios. If you wanted a slung
mic or two, there were electrically operated hoists to put them on.
And keep the floor clear for more important things. ;-)

Or stick the mic on with a lump of BlueTak :-)))

You would rely on BlueTak to hold up an expensive slung mic, Iain? I'm
afraid most of us in TV have more respect for the tools of our trade. And
the health and safety of those around us.

But it is good you are keeping up with the current trend for 'fake
news'...

Lots of very interesting departments in the BBC, Iain. Or rather once
were. Did you never visit Kingswood Warren?

Yes. A friend of our family was a senior project engineer
there. It was he who suggested to me a career at the BBC.

So what went wrong?

It's probably long closed?

Indeed.

--
*Sticks and stones may break my bones but whips and chains excite me*

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

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:
But not apparently on making decent stereo from mono?

Yes. They had some interesting ideas. No-one was
labouring under the miscoception that stereo could be made
from mono. We talked about the stereo illusion.

Thought I made by point earlier. You can't make good stereo from mono.
Any more than you can change lead into gold. But that has never stopped
people trying.

I ask again, did you listen to my demo?
http://www.kolumbus.fi/iain.churches...StereoDemo.mp3

Your comments would be of interest.

Heh heh. Think what you actually mean is you want comments that you can
attempt to score points from. :-)

As a former broadcast professional could their
be any doubt as to the validity of your comments?.

I remember it was Keith G who pointed out that "Plowie"
(as he used to call you) could never listened to any
snippets posted. And when Keith was here, there were
some very interesting snippets:-)))

You would rely on BlueTak to hold up an expensive slung mic, Iain? I'm
afraid most of us in TV have more respect for the tools of our trade. And
the health and safety of those around us.

Blue Tak seems to have been a standard mounting
accessory exclusive to TV music shows. Nowhere else.
String players talked about it often, and aparently told
TV sound assistants "not to stick that muck on my
instrument" So did their violins remain without a
mic? "Call, the sound supervisor!. This clown has
stuck a lump of goo onto my £250,000 Amati"

Lots of very interesting departments in the BBC, Iain. Or rather once
were. Did you never visit Kingswood Warren?

Yes. A friend of our family was a senior project engineer
there. It was he who suggested to me a career at the BBC.

So what went wrong?

Nothing. In terms of training, job prospects, advancement
oportunities, salary, and level of interest, broadcasting
sadly, came right at the bottom of the table.

Iain

On 24/01/2017 17:05, Iain Churches wrote:
Blue Tak seems to have been a standard mounting
accessory exclusive to TV music shows. Nowhere else.
String players talked about it often, and aparently told
TV sound assistants "not to stick that muck on my
instrument" So did their violins remain without a
mic? "Call, the sound supervisor!. This clown has
stuck a lump of goo onto my £250,000 Amati"

After 40 plus years in broadcasting, admittedly as a cameraman, I can't
recall ever seeing bluetak being used to attach microphones to anything,
never mind musical instruments.

--
Graeme Wall
This account not read.

"Graeme Wall" wrote in message
news
On 24/01/2017 17:05, Iain Churches wrote:
Blue Tak seems to have been a standard mounting
accessory exclusive to TV music shows. Nowhere else.
String players talked about it often, and aparently told
TV sound assistants "not to stick that muck on my
instrument" So did their violins remain without a
mic? "Call, the sound supervisor!. This clown has
stuck a lump of goo onto my £250,000 Amati"

After 40 plus years in broadcasting, admittedly as a cameraman, I can't
recall ever seeing bluetak being used to attach microphones to anything,
never mind musical instruments.


Musicians have a very special humour.
String players used to say. "I've been at
the TV centre all day. It's nice to come
to a studio where they have proper mic stands"
Everyone knew what they meant!

Iain