\n We had one of those \u2018phones\u2019 as a kit on OBs – I remember rigging it in a Scanner for Brian Barwick to use at an FA Cup Final.\n<\/p>\n\n\n\n
\n But I\u2019m sure we called it \u2018Bough\u2019 as in Frank Bough.\n<\/p>\n\n\n\n
Paul Thackray<\/h2>\n\n\n\n
\n I also believed it was Bough Phone and originated at Lime Grove?\n<\/p>\n\n\n\n
<\/a>Hugh Snape<\/h2>\n\n\n\n\n Interestingly a telephone FX unit was used in the news intake area at Bush (or it might have been BH) to filter out the LF \u201cHeartbeat\u201d sound on international calls whichI think was caused by the devices used to meter them.\n<\/p>\n\n\n\n
<\/a>Paul Thackray<\/h2>\n\n\n\n\n The heart beats were indeed charging info.\n<\/p>\n\n\n\n
\n In the 80s correspondents started to use a frequency shifter made by Comrex, the send end shifted up 250Hz and the receive end down by 250Hz. The net result was lose a little bit of HF (not noticeable) but gained some LF (very noticeable) because of the extra base, the sound was more natural and less telephonic. The side effects on the heartbeat was they were shifted so low (as added after the up shift) they were no longer noticeable and easy to filter out.\n<\/p>\n\n\n\n
<\/a>Barry Cobden<\/h2>\n\n\n\n\n It was called the Bough-Hart phone, later shortened to Bough phone. It originated in Studio G at Lime Grove for Grandstand.\n<\/p>\n\n\n\n
\n Frank Bough was, of course, the presenter and Alan Hart the editor (producer.) He later did other things.\n<\/p>\n\n\n\n
\n A PFL (Pre-fader listen) of Frank’s mic was sent to the equipment an then on to a phone instrument, IIRC it was a modified Trimphone.\n<\/p>\n\n\n\n
\n When Alan’s phone was lifted the editor’s mic ended up in the presenter earpiece, rather like a switched talkback with Production Talkback being the default.\n<\/p>\n\n\n\n
\n Thus they could hold a two way, private conversation, usually while on a VT or OB, about what was coming up.\n<\/p>\n\n\n\n
\n I hated the rig for Grandstand. You had to be in, on duty, by 08:30 on a Saturday morning.\n<\/p>\n\n\n\n
<\/a>John Howell<\/h2>\n\n\n\n\n Also there were 2 variable attenuators (volume controls!) on the Sound Desk which made signals quieter when rotated clockwise. The theory being, I suppose, that if you wanted more from an attenuator you turned it ‘up’! However with every.other control on the desk being ‘normal’] it could be a hazard in the heat of the moment.\n<\/p>\n\n\n\n
\n
<\/h1>\n\n
\n
![\"ianfootersmall\"](\"http:\/\/tech-ops.co.uk\/next\/wp-content\/uploads\/2012\/07\/ianfootersmall-300x104.jpg\")
<\/p>\n\n
\n\n","protected":false},"excerpt":{"rendered":"
Mike Giles Another thing P&ID wanted to perpetuate in TVC studios was mains powered cue lights, years after Special Projects low voltage devices were common and when we refurbished TC5 for Sport\u2019s exclusive use, they wanted to maintain the \u201cBOF … Continue reading
\n The heart beats were indeed charging info.\n<\/p>\n\n\n\n
\n In the 80s correspondents started to use a frequency shifter made by Comrex, the send end shifted up 250Hz and the receive end down by 250Hz. The net result was lose a little bit of HF (not noticeable) but gained some LF (very noticeable) because of the extra base, the sound was more natural and less telephonic. The side effects on the heartbeat was they were shifted so low (as added after the up shift) they were no longer noticeable and easy to filter out.\n<\/p>\n\n\n\n
<\/a>Barry Cobden<\/h2>\n\n\n\n\n It was called the Bough-Hart phone, later shortened to Bough phone. It originated in Studio G at Lime Grove for Grandstand.\n<\/p>\n\n\n\n
\n Frank Bough was, of course, the presenter and Alan Hart the editor (producer.) He later did other things.\n<\/p>\n\n\n\n
\n A PFL (Pre-fader listen) of Frank’s mic was sent to the equipment an then on to a phone instrument, IIRC it was a modified Trimphone.\n<\/p>\n\n\n\n
\n When Alan’s phone was lifted the editor’s mic ended up in the presenter earpiece, rather like a switched talkback with Production Talkback being the default.\n<\/p>\n\n\n\n
\n Thus they could hold a two way, private conversation, usually while on a VT or OB, about what was coming up.\n<\/p>\n\n\n\n
\n I hated the rig for Grandstand. You had to be in, on duty, by 08:30 on a Saturday morning.\n<\/p>\n\n\n\n
<\/a>John Howell<\/h2>\n\n\n\n\n Also there were 2 variable attenuators (volume controls!) on the Sound Desk which made signals quieter when rotated clockwise. The theory being, I suppose, that if you wanted more from an attenuator you turned it ‘up’! However with every.other control on the desk being ‘normal’] it could be a hazard in the heat of the moment.\n<\/p>\n\n\n\n
\n
<\/h1>\n\n
\n
<\/p>\n\n
\n\n","protected":false},"excerpt":{"rendered":"
Mike Giles Another thing P&ID wanted to perpetuate in TVC studios was mains powered cue lights, years after Special Projects low voltage devices were common and when we refurbished TC5 for Sport\u2019s exclusive use, they wanted to maintain the \u201cBOF … Continue reading
\n Also there were 2 variable attenuators (volume controls!) on the Sound Desk which made signals quieter when rotated clockwise. The theory being, I suppose, that if you wanted more from an attenuator you turned it ‘up’! However with every.other control on the desk being ‘normal’] it could be a hazard in the heat of the moment.\n<\/p>\n\n\n\n
\n
<\/h1>\n\n
\n
<\/p>\n\n
\n\n","protected":false},"excerpt":{"rendered":"
Mike Giles Another thing P&ID wanted to perpetuate in TVC studios was mains powered cue lights, years after Special Projects low voltage devices were common and when we refurbished TC5 for Sport\u2019s exclusive use, they wanted to maintain the \u201cBOF … Continue reading