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Bbc Radiophonic Workshop - A Retrospective Rar !!EXCLUSIVE!!


Laura Mulvey and Peter Wollen: Beyond The Scorched Earth of Counter-Cinema was produced to accompany a New York retrospective of the same name - the first to be staged in the U.S. - curated by Oliver Fuke and organised by the Colloquium for Unpopular Culture at 721 Broadway from 11-14 November 2016.

For many years the music on Doctor Who was closely linked to the output of the BBC Radiophonic Workshop, a unit created by the BBC to specialise in sound effects using electronic equipment and often experimental techniques. Though they created music and effects for many productions (such as "Quatermass and the Pit" and "The Goon Show") electronic sounds were most often associated with Science Fiction on both the big screen and on television. So it was almost inevitable that there would be such a close relationship with Doctor Who, and many members of the workshop received credits on the programme for the music or the sound effects and frequently both. Even when the Unit wasn't credited directly, it was often involved behind the scenes, taking the music from the composer and enhancing it electronically with additional layers and effects.

Sadly with the proliferation of cheap synthesisers and music software, the BBC decided to close the department in 1998. Although the Radiophonic Workshop no longer exists as a BBC department, it still has a large legacy of audio material and equipment whose main curator is Mark Ayres. In addition, Mark Ayres and other former members of the organisation (Peter Howell, Roger Limb, Dick Mills, Paddy Kingsland, Mark Ayres and Kieron Pepper) have reformed as a group to continue to make electronic music. The new group call themselves The Radiophonic Workshop (without the "BBC") and are actively recording and performing, having appeared at a number of concerts across the country including the Prom concert in 2013 marking the 50th anniversary of Doctor Who, the Glastonbury Festival in 2014 and the 2014 Commonwealth Games in Glasgow. The reformed group released their first independent album in May 2017 under the title "Burials in Several Earths" and provided the soundtrack to the film "Possum" in 2018. Issue 28 of Electronic Sound magazine with a TARDIS cover features an in depth article about the old and new incarnations of the workshop and an optional CD of Workshop music.

After the theme, the next major audio requirement back in 1963 was the Tardis dematerialisation sound, and this was created by another member of the radiophonic team Brian Hodgson. Hodgson famously recorded the sound of a door key being dragged along the wound base strings of a piano, and treated this recording with special effects to create the tardis's sound. Quite often the Tardis sound was edited on the show for reasons of pacing, but it was a magical effect when the sound was played in full. Hodgson also created the Tardis "hum" and provided the characteristic throbbing sound of the Dalek city. Some sounds were created by recording source sounds and then manipulating them, while other sounds were created purely from electronic circuits. The Dalek voices were created by processing the actors' voices (initially Peter Hawkins and David Graham, then a few years later Roy Skelton, but now performed by Nicholas Briggs, who incidentally as executive producer of "Big Finish" has also created music for some of their earlier audio releases) through a device called a ring modulator. Peter Hawkins and Roy Skelton went on to create the voices for other monsters including the Cybermen. For their first appearance in "The Tenth Planet" the Cybermen's sing-song voices used unnatural rhythms and inflections, but their voices in later stories were processed electronically.

Towards the end of the 1960s Doctor Who became firmly established in the television schedules, and the programme entered a period of relative stability. Although the use of stock music continued for some stories, the name of Dudley Simpson became more and more associated with t


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