From pat.heigham at amps.net Sat May 1 04:11:07 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 1 May 2021 10:11:07 +0100 Subject: [Tech1] Fwd: How low can COVID go? In-Reply-To: References: <5925499991davesound@btinternet.com> <026D776E-7279-49E7-822D-948260887901@me.com> Message-ID: <608d1b2c.1c69fb81.efcd1.02d0@mx.google.com> The mention of Southall reminded me that some years ago, I recorded a C4 documentary ?The Elastic Church? incorporating different styles of worshipping up and down this country, but always based on the Christian Communion service. Our last stop was Southall, where the celebrant conducted it in Urdu, and instead of organ or piano, there was a harmonium and tabla (finger drums, like bongos). Afterwards we were invited to join in a curry lunch in the church room which was utterly delicious! Pat Sent from Mail for Windows 10 From: Bernard Newnham via Tech1 Sent: 30 April 2021 15:28 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Fwd: How low can COVID go? It's somewhat surprising that India got away so lightly for so long.? I'm sure lots of people here have been to Old Delhi or wherever, where the alleys are always narrow and hugely crowded. Someone the other day said "I don't need to go to India to get the feel, I've been to Hounslow and Southall". Is that racist? Don't know. I said "You have no idea" B -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: FB089B9C219740CB9475D78D11AC98E5.png Type: image/png Size: 279494 bytes Desc: not available URL: From pat.heigham at amps.net Sat May 1 06:25:21 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 1 May 2021 12:25:21 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: <5925499991davesound@btinternet.com> <026D776E-7279-49E7-822D-948260887901@me.com> Message-ID: <608d3aa1.1c69fb81.17b75.5757@mx.google.com> I can?t find the original posting to reply to ? something about using a single mic? Here are a couple of stories, though: My sound kit comprised, sorry to bore non-sound people: 1 SENNHEISER MKH60 for boom/pole use 2 AKG C451/EB 1 BEYER M160 1 BEYER M101NC 1 ELECTROVOICE RE50 (hand mic for USA) 2 TRAM TR50LA6XL 1 SANKEN COS-11BP 1 SONY ECM-77B And three Audio 2000 radio mics, into an SQN4 mixer. Plus I always included a mike stand ? fitted into the legs tube for travelling. The stand came in useful ? a lot of work was for US Sports channels, ABC, NBC, and we never knew what we would be faced with. On one occasion we pitched up in a German bar which had an ?oompah band?. Used the stand mounted RE50 pointing straight up, to catch the reflected sound from the low ceiling over the musicians. I also ran a back-up DAT recorder to get a longer track, as the cameramen usually switched off when they felt like it! It didn?t sound bad, particularly after a few steins of beer! Again, in Barcelona, we covered a Sunday open-air dance called Sardana, where anyone can join in. Band on the far side of the town square, us on a balcony for a wide shot. Trusty RE50 on a stand, radioed back - range OK. What was curious, and baffled me, was that the dance, which has a particular step routine, bore no relation sync wise to what the band was playing, they toiled away, regardless. Pat Sent from Mail for Windows 10 -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sat May 1 07:06:40 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 1 May 2021 13:06:40 +0100 Subject: [Tech1] Covid In-Reply-To: <80cfd73a-4fb8-c9ed-0568-f12c2aa8eadf@sky.com> References: <80cfd73a-4fb8-c9ed-0568-f12c2aa8eadf.ref@sky.com> <80cfd73a-4fb8-c9ed-0568-f12c2aa8eadf@sky.com> Message-ID: <608d4450.1c69fb81.191d1.c62b@mx.google.com> Have nothing but praise for the NHS in my area. I have a regular PSA test, and Epsom Urology is monitoring the readings, even to the extent of calling me in for an MRI scan, nothing showed up, but they still carried out a camera up the back end! I called it my Inside Broadcast ? darn great 42? Hi-Def monitor for me to view up my own internal! Should I have asked for a DVD? Beats holiday slide shows? Interesting though, and something to add to ?experiences?. Thank goodness for TV ? otherwise it would need invasive surgery to investigate? Pat Sent from Mail for Windows 10 From: Dave Buckley via Tech1 Sent: 30 April 2021 18:46 To: tech1 at tech-ops.co.uk Subject: [Tech1] Covid I read Bernie's latest email with interest, as I do think that Covid is very low now such that...... I received a phone call this afternoon from my medical centre saying that they were now getting back to normal and could they book me in for a number of tests (PSA, blood pressure, a check of my asthma and cholesterol).' Goodness,' I said, 'that's getting them all in'. 'Yes, came the reply, 'a sort of MoT!' So after a year, I now have my first check-up on 2nd June. Dave Buckley -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Sat May 1 07:40:02 2021 From: alanaudio at me.com (Alan Taylor) Date: Sat, 1 May 2021 13:40:02 +0100 Subject: [Tech1] Single mic? In-Reply-To: <608d3aa1.1c69fb81.17b75.5757@mx.google.com> References: <608d3aa1.1c69fb81.17b75.5757@mx.google.com> Message-ID: I once encountered a Sardana while holidaying in a small town near Barcelona. We were drinking outside and I spotted random people walking along the street carrying various musical instruments. I thought it might be worth following them to see what was going on and we ended up in a big open space where the band rapidly set up and people started dancing. Initially in a large circle, but as more and more joined in, it became a number of concentric circles. It was an amazingly joyous occasion with all ages from toddlers to great grandparents joining in with enthusiasm. When working in the Basque Country on the World Cup in ?82, a group of us visited a small bar in a tiny village when the locals decided to get festive. A local band appeared without warning. A seemingly random collection of violins, guitars and brass instruments, to my untrained ear sounding more like a Mexican Mariachi band, but they were totally awesome. The whole celebration was centred upon our group because we had decided to take out our football pundit for a quiet night out in a little bar which we knew. He was a lovely chap by the name of Bobby Charlton. Unexpected live music is a special delight, especially when the music is exuberant, the weather is hot and the alcohol is plentiful. Alan Taylor > On 1 May 2021, at 12:25, patheigham via Tech1 wrote: > ? > > I can?t find the original posting to reply to ? something about using a single mic? > Here are a couple of stories, though: > My sound kit comprised, sorry to bore non-sound people: > > > 1 SENNHEISER MKH60 for boom/pole use > > 2 AKG C451/EB > > 1 BEYER M160 > > 1 BEYER M101NC > > 1 ELECTROVOICE RE50 (hand mic for USA) > > 2 TRAM TR50LA6XL > > 1 SANKEN COS-11BP > > 1 SONY ECM-77B > > And three Audio 2000 radio mics, into an SQN4 mixer. > Plus I always included a mike stand ? fitted into the legs tube for travelling. > The stand came in useful ? a lot of work was for US Sports channels, ABC, NBC, and we never knew what we would be faced with. On one occasion we pitched up in a German bar which had an ?oompah band?. Used the stand mounted RE50 pointing straight up, to catch the reflected sound from the low ceiling over the musicians. I also ran a back-up DAT recorder to get a longer track, as the cameramen usually switched off when they felt like it! It didn?t sound bad, particularly after a few steins of beer! > Again, in Barcelona, we covered a Sunday open-air dance called Sardana, where anyone can join in. Band on the far side of the town square, us on a balcony for a wide shot. Trusty RE50 on a stand, radioed back - range OK. > What was curious, and baffled me, was that the dance, which has a particular step routine, bore no relation sync wise to what the band was playing, they toiled away, regardless. > Pat > > > Sent from Mail for Windows 10 > > > > > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From peterjohncombes at gmail.com Sun May 2 01:33:04 2021 From: peterjohncombes at gmail.com (Peter Combes) Date: Sun, 2 May 2021 08:33:04 +0200 Subject: [Tech1] Single mic? In-Reply-To: References: <608d3aa1.1c69fb81.17b75.5757@mx.google.com> Message-ID: I took this picture of a whole town square dancing together in Teruel, the capital of Aragon, at the festival of *amantes de Teruel , t*he tragic couple whose story may have inspired "*Romeo and Juliet*". Peter Combes, Crew 3 Emeritus On Sat, 1 May 2021 at 14:40, Alan Taylor via Tech1 wrote: > I once encountered a Sardana while holidaying in a small town near > Barcelona. We were drinking outside and I spotted random people walking > along the street carrying various musical instruments. > > I thought it might be worth following them to see what was going on and we > ended up in a big open space where the band rapidly set up and people > started dancing. Initially in a large circle, but as more and more joined > in, it became a number of concentric circles. It was an amazingly joyous > occasion with all ages from toddlers to great grandparents joining in with > enthusiasm. > > When working in the Basque Country on the World Cup in ?82, a group of us > visited a small bar in a tiny village when the locals decided to get > festive. A local band appeared without warning. A seemingly random > collection of violins, guitars and brass instruments, to my untrained ear > sounding more like a Mexican Mariachi band, but they were totally awesome. > The whole celebration was centred upon our group because we had decided to > take out our football pundit for a quiet night out in a little bar which we > knew. He was a lovely chap by the name of Bobby Charlton. > > Unexpected live music is a special delight, especially when the music is > exuberant, the weather is hot and the alcohol is plentiful. > > Alan Taylor > > > On 1 May 2021, at 12:25, patheigham via Tech1 > wrote: > > ? > > > > I can?t find the original posting to reply to ? something about using a > single mic? > > Here are a couple of stories, though: > > My sound kit comprised, sorry to bore non-sound people: > > > > 1 SENNHEISER MKH60 for boom/pole use > > 2 AKG C451/EB > > 1 BEYER M160 > > 1 BEYER M101NC > > 1 ELECTROVOICE RE50 (hand mic for USA) > > 2 TRAM TR50LA6XL > > 1 SANKEN COS-11BP > > 1 SONY ECM-77B > > And three Audio 2000 radio mics, into an SQN4 mixer. > > Plus I always included a mike stand ? fitted into the legs tube for > travelling. > > The stand came in useful ? a lot of work was for US Sports channels, ABC, > NBC, and we never knew what we would be faced with. On one occasion we > pitched up in a German bar which had an ?oompah band?. Used the stand > mounted RE50 pointing straight up, to catch the reflected sound from the > low ceiling over the musicians. I also ran a back-up DAT recorder to get a > longer track, as the cameramen usually switched off when they felt like it! > It didn?t sound bad, particularly after a few steins of beer! > > Again, in Barcelona, we covered a Sunday open-air dance called Sardana, > where anyone can join in. Band on the far side of the town square, us on a > balcony for a wide shot. Trusty RE50 on a stand, radioed back - range OK. > > What was curious, and baffled me, was that the dance, which has a > particular step routine, bore no relation sync wise to what the band was > playing, they toiled away, regardless. > > Pat > > > > > > Sent from Mail for > Windows 10 > > > > > > > ------------------------------ > [image: Avast logo] > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > <#m_-6030263428103864218_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: TeruelPJC.jpg Type: image/jpeg Size: 2664247 bytes Desc: not available URL: From alanaudio at me.com Sun May 2 02:26:09 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 2 May 2021 08:26:09 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: Message-ID: That?s an excellent picture, it perfectly captured the spirit of those types of occasion. It seems a shame that we rarely see similar events in the UK. Standing outside the boozer, clutching a pint of Wadworths while being bopped on the head by a pig?s bladder courtesy of the local Morris doesn?t have quite the same sense of involvement or exuberance, while the few traditional festivals held in the UK get overwhelmed with visitors. Prior to the lockdowns, they had been organising entertainment events in the market square here in Banbury. The basic idea is that the council organise something, pay for staging, technology and security, while the costs are offset by fees charged for catering concessions. The location of our market square is rather fortunate in that it?s essentially isolated from normal roads by 200 metres or so , therefore it can be safely sealed off from passing traffic and provides a large communal space with good natural acoustics and little background noise. They have organised free music festivals featuring local bands ( pretty decent ones at that ) and also outdoor cinema events, again free - bring your own chair. It?s not remotely comparable to traditional events routinely happening on the continent, but at least it?s a start. Last year to commemorate VE Day there was going to be a Glen Miller style event in the market square with a forties big band, but of course it had to be cancelled. A Motown event was called off too. Hopefully we can look forward to renewed interest in these sort of events before long. Alan Taylor > On 2 May 2021, at 07:33, Peter Combes wrote: > > ? > I took this picture of a whole town square dancing together in Teruel, the capital of Aragon, at the festival of amantes de Teruel, the tragic couple whose story may have inspired "Romeo and Juliet". Peter Combes, Crew 3 Emeritus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sun May 2 05:24:48 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 2 May 2021 11:24:48 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: Message-ID: <608e7df1.1c69fb81.2b038.1913@mx.google.com> I do agree, Alan. It annoys me that English Morris dancing is sneered at as being ?poncey?, while embracing other countries? colourful traditional folk dancing displays. When at Tech college, one had to have one period a week with a different subject to the studied course. In the hope of meeting the girls from the secretarial classes, I opted for country dancing and learned all the square dance routines. Found a delightful girlfriend who wanted to join the film club that I was running for lunchtime cinema shows. She turned out to be more deft and adept than I was at setting up and operating the twin 16mm projectors that the college had in a proper projection room for the main hall. I learned Morris, and one had to be pretty accurate with the stick numbers, as if you got it wrong, you got your head painfully cracked! I was asked to join a ?ring? run by the chap who came to teach us, for a memorable Sunday afternoon pub crawl around East Surrey watering places. Disgorging from a minibus, our leader asked the landlord if we could dance for his customers. After a couple of dances, it was ?Great, lads, have a pint on the house!? Back into the bus and on to the next. A splendid way to free beer! Regards Pat Sent from Mail for Windows 10 From: Alan Taylor via Tech1 Sent: 02 May 2021 08:26 To: tech1 Subject: Re: [Tech1] Single mic? That?s an excellent picture, it perfectly captured the spirit of those types of occasion. It seems a shame that we rarely see similar events in the UK. ?Standing outside the boozer, clutching a pint of Wadworths while being bopped on the head by a pig?s bladder courtesy of the local Morris doesn?t have quite the same sense of involvement or exuberance, while the few traditional festivals held in the UK get overwhelmed with visitors. Alan Taylor On 2 May 2021, at 07:33, Peter Combes wrote: ? I took this picture of a whole town square dancing together in Teruel, the capital of Aragon, at the festival of?amantes de Teruel, the tragic couple whose story may have inspired "Romeo and Juliet".? ? ? ? ? ?Peter Combes, Crew 3 Emeritus -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From jpn at imixmics.co.uk Sun May 2 10:06:12 2021 From: jpn at imixmics.co.uk (John Nottage) Date: Sun, 2 May 2021 16:06:12 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: Message-ID: Your talk of the cinema in Banbury market square coincided with this press release announcing the return of Southwold's Outdoor Cinema, courtesy of Richard Curtis - but it ain't free or even cheap: https://www.eadt.co.uk/things-to-do/southwold-cinema-returns-for-summer-2021-7932854 John Nottage On 02/05/2021 08:26, Alan Taylor via Tech1 wrote: > > Prior to the lockdowns, they had been organising entertainment events in > the market square here in Banbury. ?The basic idea is that the council > organise something, pay for staging, technology and security, while the > costs are offset by fees charged for catering concessions. The location > of our market square is rather fortunate in that it?s essentially > isolated from normal roads by 200 metres or so , therefore it can be > safely sealed off from passing traffic and provides a large communal > space with good natural acoustics and little background noise. ?They > have organised free music festivals featuring local bands ( pretty > decent ones at that ) and also outdoor cinema events, again free - bring > your own chair. > > Alan Taylor From pat.heigham at amps.net Sun May 2 11:08:06 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 2 May 2021 17:08:06 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: Message-ID: <608ece67.1c69fb81.6e803.4c44@mx.google.com> I can?t compete with Southwold?s 42 ft screen, but around 15 years ago, I ran outdoor shows in my friend?s Somerset garden. In those days it was off 16mm, and although I had two projectors, we paused for reel changes, as it was encouraged for the audience to refill at the cash bar. Film prints were hired from a film library, and to avoid having to render 30% of the ticket takings, the wife and daughters of the house laid on a curry supper, plus a first free drink. Thus the ticket covered the supper and the film was for free! Proceeds went to the church fabric fund. The screen is a 9 ft one from Harkness Hall who make cinema screens from IMAX downwards. I also got a 6 ft frame and surface for indoor use. The first time we set it up, it blew over! Acted like a sail! So guy ropes installed for future shows. In all of six years we never had bad weather, although when starting up again at a different venue in the same village, there was a downpour. Audience OK in a large marquee tent, and a golf umbrella over the projector ? by this time I had switched to video off Blu-Ray into a Panasonic unit which was super powerful. The screen surface was plastic so it dried out the next day. A few pics, showing the garden set-up and the interior of other friend?s kitchen/dining room which I snaffled for more film shows! Best Pat Sent from Mail for Windows 10 From: John Nottage via Tech1 Sent: 02 May 2021 16:06 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Single mic? Your talk of the cinema in Banbury market square coincided with this press release announcing the return of Southwold's Outdoor Cinema, courtesy of Richard Curtis - but it ain't free or even cheap: https://www.eadt.co.uk/things-to-do/southwold-cinema-returns-for-summer-2021-7932854 John Nottage -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 48FDB3058BC34BB79BA80F8FD5271B6E.jpg Type: image/jpeg Size: 36009 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: F1586050187247AD9415F50001B81FA6.jpg Type: image/jpeg Size: 68847 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 021E7FF0D6CD45FEB040DF86CE316FBA.jpg Type: image/jpeg Size: 71698 bytes Desc: not available URL: From bernie833 at gmail.com Sun May 2 11:46:56 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Sun, 2 May 2021 17:46:56 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: <4B45C3ED-7D68-4FB0-8056-CC2B81115CCC@blueyonder.co.uk> References: <4B45C3ED-7D68-4FB0-8056-CC2B81115CCC@blueyonder.co.uk> Message-ID: I don't know this man, maybe you do....... -------- Forwarded Message -------- Subject: BBC radio quadrant faders.. Date: Sat, 1 May 2021 22:39:13 +0100 From: db blueyonder To: bernard.newnham at ntlworld.com Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) Robert Miles asks - on your page http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of audio faders in the MCR13. Alan Taylor explains that the audio faders are 100% UP when they?re in the DOWN position, and Nick Ware says "It struck me as odd from day one, when I first saw TC sound and vision mixers, that vision faders faded up, which was entirely logical, while sound faded ?down? for ?up??. Ah, but on Roger Beckwith?s pages about (old) BBC Radio - http://www.orbem.co.uk - the man who designed mobile desks for OB trucks - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they are ..the opposite way around to those which came to dominate audio mixing: ?..I believe my special projects one-off desks in the 1960s were among the first to use slider rather than rotary faders, and I had to decide which way they should travel to fade up or down. The commercial desks of the day tended to favour UP - away from the operator, and DOWN, toward the operator, as they did in the USA. I adopted UP for OFF and DOWN for ON, simply because our domestic switches do this, the opposite being the case in America?. Cheers, David. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Sun May 2 11:57:05 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 2 May 2021 17:57:05 +0100 Subject: [Tech1] Single mic? In-Reply-To: References: Message-ID: <0B80577B-E35A-4145-B897-86F6EEAF8316@me.com> ?12.50 per person certainly isn?t cheap, but it?s not too much of a rip-off either. I like the fact that the audience listens on headphones as it should mean that everybody hears the sound in sync, which wasn?t the case when I went to an outdoor cinema on Brighton beach many years ago. The sound was delivered by excellent quality speakers, but we were so far from the screen that the sound reached us about ten frames out of sync. Booking tickets well in advance for that event and then having rainy weather on the day would be a bit of a bummer, but that?s British weather for you. There were drive-in cinemas around here last year. Price per car was between ?40 and ?50. The problem was that the screen wasn?t sufficiently high off the ground and if you turned up in your pre-designated spot and the car in front happened to be a big 4WD, you either had to accept not being able to see the bottom of the screen, or else move to the back and hardly see the screen. Not too good when you?re paying that sort of money. There are a lot of free events nearby in Coventry too. Every ( normal ) year they organise the Godiva festival, which is a free pop festival with well known headliners. Even the parking is free and brilliantly organised. Two years ago they organised a MotorFest. Essentially the Coventry inner ring road was closed off for a weekend and everything within it became a motor show. Cars used the ring road to do demo runs, some at very high speed. Different demonstrations occurred in other areas. The centre of town had a loads of static displays grouped in themes, where you could walk up to the vehicles and talk to the owners. Again it was all free and very professionally organised. 2021 was the year for Coventry to be the City of Culture. For obvious reasons it has been drastically scaled back, but some events are now being announced. Back in Banbury, it?s one of the stages for the historic Monte Carlo run in normal years. Rally cars from the heyday of the rally re-run the event. Again it takes place in the market square which is kept free of other cars, but they leave via a road which is normally a pedestrianised road, requiring some pretty effective marshalling. I quite like these smaller events. They?re not big enough to attract hoards of people from distant parts, but they?re big enough to be vibrant and interesting. At the other end of the scale, most years there is the Fairport Convention Cropredy festival, which takes place in the village next to ours. There?s a day of congestion on one road when everybody arrives and another on going home day, but it?s not too intrusive for locals. The village of Cropredy runs a fringe festival, mostly based around the village pubs and various bands, which is well worth walking over there for. Alan Taylor > On 2 May 2021, at 16:07, John Nottage via Tech1 wrote: > > ?Your talk of the cinema in Banbury market square coincided with this press release announcing the return of Southwold's Outdoor Cinema, courtesy of Richard Curtis - but it ain't free or even cheap: > > https://www.eadt.co.uk/things-to-do/southwold-cinema-returns-for-summer-2021-7932854 > > John Nottage > >> On 02/05/2021 08:26, Alan Taylor via Tech1 wrote: >> Prior to the lockdowns, they had been organising entertainment events in the market square here in Banbury. The basic idea is that the council organise something, pay for staging, technology and security, while the costs are offset by fees charged for catering concessions. The location of our market square is rather fortunate in that it?s essentially isolated from normal roads by 200 metres or so , therefore it can be safely sealed off from passing traffic and provides a large communal space with good natural acoustics and little background noise. They have organised free music festivals featuring local bands ( pretty decent ones at that ) and also outdoor cinema events, again free - bring your own chair. Alan Taylor > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From alanaudio at me.com Sun May 2 13:00:11 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 2 May 2021 19:00:11 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: Message-ID: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> I wouldn?t make too much of comparisons between quadrant faders used for vision mixing and sound mixing. Admittedly I haven?t ( officially ) done much vision mixing, but it seems to me that a vision mixer rests their fingertips on the cut buttons for rapid reaction and uses the fader from time to time, generally going full travel when the fader is operated. However a sound mixer constantly keeps their fingertips on multiple faders for rapid reaction and makes fine adjustments all the time, only fading mostly up or completely down at the start or end of a sequence. What is ergonomic for a sound mixer with quadrant faders might be quite different for a vision mixer using quadrant faders. Alan Taylor > On 2 May 2021, at 17:47, Bernard Newnham via Tech1 wrote: > > ? I don't know this man, maybe you do....... > > > -------- Forwarded Message -------- > Subject: BBC radio quadrant faders.. > Date: Sat, 1 May 2021 22:39:13 +0100 > From: db blueyonder > To: bernard.newnham at ntlworld.com > > > Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) > > Robert Miles asks - on your page http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of audio faders in the MCR13. Alan Taylor explains that the audio faders are 100% UP when they?re in the DOWN position, and Nick Ware says "It struck me as odd from day one, when I first saw TC sound and vision mixers, that vision faders faded up, which was entirely logical, while sound faded ?down? for ?up??. > > Ah, but on Roger Beckwith?s pages about (old) BBC Radio - http://www.orbem.co.uk - the man who designed mobile desks for OB trucks - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they are ..the opposite way around to those which came to dominate audio mixing: > ?..I believe my special projects one-off desks in the 1960s were among the first to use slider rather than rotary faders, and I had to decide which way they should travel to fade up or down. The commercial desks of the day tended to favour UP - away from the operator, and DOWN, toward the operator, as they did in the USA. I adopted UP for OFF and DOWN for ON, simply because our domestic switches do this, the opposite being the case in America?. > > Cheers, > > David. > > _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Sun May 2 13:27:01 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Sun, 2 May 2021 19:27:01 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: Alan and co, Quadrant Faders....and that regular topic of 'BBC faders': It's interesting that Johnny Longdon claims that he used 'quadrant' faders first at the BBC in the early '60's, when he built 'The Logdon desk', as detailed in that now quite old Orbem article. I'm also happy to take his word for it that he did decide to have the fader working in a 'pull for fade up' manner. The stories about the risk of 'catching your cuffs' in the fader etc always seemed unlikely to me. I do wonder though why Painton Qudrant faders hadn't been put to use in sound at the BBC prior to that. Longdon is using 'the thin Painton Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for instance; the one with the wonderful 'light show' when in use The first use of a Painton Quadrant I have so far come across is in the Marconi BD579 mixer of early or mid 1950's: [image: Marconi BD579A.jpg] And Pye had a desk of fairly design with a bank of Painton quadrant faders in the Scottish TV scanner of 1957. Note that both these had the earlier 'big' Painton fader...as found in the REDD51 desks at EMI Abbey Road of course. Logdon's radio desk seems a bit late, but of course the Beeb were big on building their own sound desks and perhaps all the 'outside built' scanners had 'rotary faders'. Dave T (Just done two new articles on Pye audio mixers in OB scanners on - www.postfade.co.uk) On Sun, 2 May 2021 at 19:00, Alan Taylor via Tech1 wrote: > I wouldn?t make too much of comparisons between quadrant faders used for > vision mixing and sound mixing. > > Admittedly I haven?t ( officially ) done much vision mixing, but it seems > to me that a vision mixer rests their fingertips on the cut buttons for > rapid reaction and uses the fader from time to time, generally going full > travel when the fader is operated. However a sound mixer constantly keeps > their fingertips on multiple faders for rapid reaction and makes fine > adjustments all the time, only fading mostly up or completely down at the > start or end of a sequence. > > What is ergonomic for a sound mixer with quadrant faders might be quite > different for a vision mixer using quadrant faders. > > Alan Taylor > > On 2 May 2021, at 17:47, Bernard Newnham via Tech1 > wrote: > > ? I don't know this man, maybe you do....... > > > -------- Forwarded Message -------- > Subject: BBC radio quadrant faders.. > Date: Sat, 1 May 2021 22:39:13 +0100 > From: db blueyonder > > To: bernard.newnham at ntlworld.com > > Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) > > Robert Miles asks - on your page > http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of > audio faders in the MCR13. Alan Taylor explains that the audio faders are > 100% UP when they?re in the DOWN position, and Nick Ware says "It struck me > as odd from day one, when I first saw TC sound and vision mixers, that > vision faders faded up, which was entirely logical, while sound faded > ?down? for ?up??. > > Ah, but on Roger Beckwith?s pages about (old) BBC Radio - > http://www.orbem.co.uk - the man who designed mobile desks for OB trucks > - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains > why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they > are ..the opposite way around to those which came to dominate audio mixing: > ?..I believe my special projects one-off desks in the 1960s were among the > first to use slider rather than rotary faders, and I had to decide which > way they should travel to fade up or down. The commercial desks of the day > tended to favour UP - away from the operator, and DOWN, toward the > operator, as they did in the USA. I adopted UP for OFF and DOWN for ON, > simply because our domestic switches do this, the opposite being the case > in America?. > > Cheers, > > David. > > _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Marconi BD579A.jpg Type: image/jpeg Size: 165790 bytes Desc: not available URL: From dave.mdv at btinternet.com Sun May 2 16:55:08 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 2 May 2021 22:55:08 +0100 Subject: [Tech1] Cinemas In-Reply-To: References: Message-ID: <5302c345-91ba-95a0-8126-b390d12ea9b0@btinternet.com> Our local cinema complex in Kingston has one screen with reclining double seats and foot rests plus a bar/pizza cafe! Having a nice glass of red with your feet up is great and there aren't too many other people in here to annoy with popcorn etc. BUT, it isn't cheap! The last time we went a couple of years ago t cost about ?15 for the two of us, plus the drinks! I still remember the 1 shilling, 6 pence seats for two films, news and adverts! Cheers, Dave On 02/05/2021 16:06, John Nottage via Tech1 wrote: > Your talk of the cinema in Banbury market square coincided with this > press release announcing the return of Southwold's Outdoor Cinema, > courtesy of Richard Curtis - but it ain't free or even cheap: > > https://www.eadt.co.uk/things-to-do/southwold-cinema-returns-for-summer-2021-7932854 > > > John Nottage > > On 02/05/2021 08:26, Alan Taylor via Tech1 wrote: >> >> Prior to the lockdowns, they had been organising entertainment events >> in the market square here in Banbury. ?The basic idea is that the >> council organise something, pay for staging, technology and security, >> while the costs are offset by fees charged for catering concessions. >> The location of our market square is rather fortunate in that it?s >> essentially isolated from normal roads by 200 metres or so , >> therefore it can be safely sealed off from passing traffic and >> provides a large communal space with good natural acoustics and >> little background noise. ?They have organised free music festivals >> featuring local bands ( pretty decent ones at that ) and also outdoor >> cinema events, again free - bring your own chair. >> Alan Taylor > From dave.mdv at btinternet.com Sun May 2 17:00:46 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 2 May 2021 23:00:46 +0100 Subject: [Tech1] Quadrant faders.. In-Reply-To: References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: <245954d1-b67b-eafa-cd38-50053614b5e9@btinternet.com> I do know of a very popular SS at TVC who used elastic bands on the DK4/20 sound desks for a rapid fade, out hooked onto the knob above the fader! Cheers, Dave On 02/05/2021 19:27, David Taylor via Tech1 wrote: > Alan and co, > Quadrant Faders....and that regular topic of 'BBC faders': > It's interesting that Johnny Longdon claims that he used 'quadrant' > faders first at the BBC in the early '60's, when he built 'The Logdon > desk', as detailed in that now quite old Orbem article. I'm also happy > to take his word for it that he did decide to have the fader working > in a 'pull for fade up' manner. The stories about the risk of > 'catching your cuffs' in the fader etc always seemed unlikely to me. > I do wonder though why Painton Qudrant faders hadn't been put to use > in sound at the BBC prior to that. Longdon is using 'the thin Painton > Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for > instance; the one with the wonderful 'light show' when in use > The first use of a Painton Quadrant I have so far come across is in > the Marconi BD579 mixer of early or mid 1950's: > Marconi BD579A.jpg > And Pye had a desk of fairly design with a bank of Painton quadrant > faders in the Scottish TV scanner of 1957. Note that both these had > the earlier 'big' Painton fader...as found in the REDD51 desks at EMI > Abbey Road of course. > Logdon's radio desk seems a bit late, but of course the Beeb were big > on building their own sound desks and perhaps all the 'outside built' > scanners had 'rotary faders'. > > Dave T > > (Just done two new articles on Pye audio mixers in OB scanners on - > www.postfade.co.uk ) > > On Sun, 2 May 2021 at 19:00, Alan Taylor via Tech1 > > wrote: > > I wouldn?t make too much of comparisons between quadrant faders > used for vision mixing and sound mixing. > > Admittedly I haven?t ( officially ) done much vision mixing, but > it seems to me that a vision mixer rests their fingertips on the > cut buttons for rapid reaction and uses the fader from time to > time, generally going full travel when the fader is operated. > However a sound mixer constantly keeps their fingertips on > multiple faders for rapid reaction and makes fine adjustments all > the time, only fading mostly up or completely down at the start or > end of a sequence. > > What is ergonomic for a sound mixer with quadrant faders might be > quite different for a vision mixer using quadrant faders. > > Alan Taylor > >> On 2 May 2021, at 17:47, Bernard Newnham via Tech1 >> > wrote: >> >> ? I don't know this man, maybe you do....... >> >> >> -------- Forwarded Message -------- >> Subject: BBC radio quadrant faders.. >> Date: Sat, 1 May 2021 22:39:13 +0100 >> From: db blueyonder >> >> To: bernard.newnham at ntlworld.com >> >> >> >> >> Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) >> >> Robert Miles asks - on your page >> http://tech-ops.co.uk/next/bits-of-our-history/ >> - about the >> direction of audio faders in the MCR13. Alan Taylor explains that >> the audio faders are 100% UP when they?re in the DOWN position, >> and Nick Ware says "It struck me as odd from day one, when I >> first saw TC sound and vision mixers, that vision faders faded >> up, which was entirely logical, while sound faded ?down? for ?up??. >> >> Ah, but on Roger Beckwith?s pages about (old) BBC Radio - >> http://www.orbem.co.uk - the man who >> designed mobile desks for OB trucks - >> http://www.orbem.co.uk/longden/longden.htm >> - Johnny Longden, >> explains why - http://www.orbem.co.uk/cons/consmem.htm#rs >> - they are the way >> they are ..the opposite way around to those which came to >> dominate audio mixing: >> ?..I believe my special projects one-off desks in the 1960s were >> among the first to use slider rather than rotary faders, and I >> had to decide which way they should travel to fade up or down. >> The commercial desks of the day tended to favour UP - away from >> the operator, and DOWN, toward the operator, as they did in the >> USA. I adopted UP for OFF and DOWN for ON, simply because our >> domestic switches do this, the opposite being the case in America?. >> >> Cheers, >> >> David. >> >> _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ >> _ _ >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Marconi BD579A.jpg Type: image/jpeg Size: 165790 bytes Desc: not available URL: From mibridge at mac.com Sun May 2 17:39:28 2021 From: mibridge at mac.com (Mike Giles) Date: Sun, 2 May 2021 23:39:28 +0100 Subject: [Tech1] Quadrant faders.. In-Reply-To: <245954d1-b67b-eafa-cd38-50053614b5e9@btinternet.com> References: <245954d1-b67b-eafa-cd38-50053614b5e9@btinternet.com> Message-ID: <22BF5AF4-8BE6-4BA1-AF43-D57F27F14E8F@mac.com> I think there is little doubt that for whatever reason the choice was made to fade up by pulling towards you by Johnny Longdeon, it was the logical way for live broadcast. The cuffs of sports jackets may be apocryphal, but there was always the chance that a bundle of script pages was robust enough to push a fader of its back- stop and if that source comprised tone from an incoming OB, or worse, a spooling VT, then it would be heard. Another obvious benefit was that the faders you were using were brought closer to hand, which could save arm ache on something long running. Then there was the question of channel labels and parallax error - with the faders away from you when not in use, the channel label was unmistakably by the fader in question, and being in the middle of the desk, was unlikely to be obscured by pages of script, whereas labels adjacent to closed faders in the commercial direction could easily be covered by script, or if the label was at the other end, particularly for channels to one side or the other, there was the risk of parallax error. The one thing that always surprised me, after years of using BBC TV sound desks, was that mixing on commercial desks didn?t lead to mistakes in terms of knowing which way to move the fader - ?knowing? is probably not the right term, as it seemed to be instinctive, even when you had desks of both persuasions in the same control room. The only time I remember making a mistake was fortunately in rehearsal at LWT after is retired, when a VT put up tone on an open fader and I rushed to the desk (as Chas Davison would have put it) only to make it even louder! The elastic band might also have been less successful, with fewer anchor points on the script rest than in the middle of the desk, but I can?t imagine who would have done such a thing! Mike G > On 2 May 2021, at 23:01, dave.mdv via Tech1 wrote: > > ? > I do know of a very popular SS at TVC who used elastic bands on the DK4/20 sound desks for a rapid fade, out hooked onto the knob above the fader! Cheers, Dave > > On 02/05/2021 19:27, David Taylor via Tech1 wrote: >> Alan and co, >> Quadrant Faders....and that regular topic of 'BBC faders': >> It's interesting that Johnny Longdon claims that he used 'quadrant' faders first at the BBC in the early '60's, when he built 'The Logdon desk', as detailed in that now quite old Orbem article. I'm also happy to take his word for it that he did decide to have the fader working in a 'pull for fade up' manner. The stories about the risk of 'catching your cuffs' in the fader etc always seemed unlikely to me. >> I do wonder though why Painton Qudrant faders hadn't been put to use in sound at the BBC prior to that. Longdon is using 'the thin Painton Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for instance; the one with the wonderful 'light show' when in use >> The first use of a Painton Quadrant I have so far come across is in the Marconi BD579 mixer of early or mid 1950's: >> >> >> And Pye had a desk of fairly design with a bank of Painton quadrant faders in the Scottish TV scanner of 1957. Note that both these had the earlier 'big' Painton fader...as found in the REDD51 desks at EMI Abbey Road of course. >> Logdon's radio desk seems a bit late, but of course the Beeb were big on building their own sound desks and perhaps all the 'outside built' scanners had 'rotary faders'. >> >> Dave T >> >> (Just done two new articles on Pye audio mixers in OB scanners on - www.postfade.co.uk) >> >> On Sun, 2 May 2021 at 19:00, Alan Taylor via Tech1 wrote: >>> I wouldn?t make too much of comparisons between quadrant faders used for vision mixing and sound mixing. >>> >>> Admittedly I haven?t ( officially ) done much vision mixing, but it seems to me that a vision mixer rests their fingertips on the cut buttons for rapid reaction and uses the fader from time to time, generally going full travel when the fader is operated. However a sound mixer constantly keeps their fingertips on multiple faders for rapid reaction and makes fine adjustments all the time, only fading mostly up or completely down at the start or end of a sequence. >>> >>> What is ergonomic for a sound mixer with quadrant faders might be quite different for a vision mixer using quadrant faders. >>> >>> Alan Taylor >>> >>>> On 2 May 2021, at 17:47, Bernard Newnham via Tech1 wrote: >>>> >>>> ? I don't know this man, maybe you do....... >>>> >>>> >>>> -------- Forwarded Message -------- >>>> Subject: BBC radio quadrant faders.. >>>> Date: Sat, 1 May 2021 22:39:13 +0100 >>>> From: db blueyonder >>>> To: bernard.newnham at ntlworld.com >>>> >>>> >>>> Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) >>>> >>>> Robert Miles asks - on your page http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of audio faders in the MCR13. Alan Taylor explains that the audio faders are 100% UP when they?re in the DOWN position, and Nick Ware says "It struck me as odd from day one, when I first saw TC sound and vision mixers, that vision faders faded up, which was entirely logical, while sound faded ?down? for ?up??. >>>> >>>> Ah, but on Roger Beckwith?s pages about (old) BBC Radio - http://www.orbem.co.uk - the man who designed mobile desks for OB trucks - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they are ..the opposite way around to those which came to dominate audio mixing: >>>> ?..I believe my special projects one-off desks in the 1960s were among the first to use slider rather than rotary faders, and I had to decide which way they should travel to fade up or down. The commercial desks of the day tended to favour UP - away from the operator, and DOWN, toward the operator, as they did in the USA. I adopted UP for OFF and DOWN for ON, simply because our domestic switches do this, the opposite being the case in America?. >>>> >>>> Cheers, >>>> >>>> David. >>>> >>>> _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From mibridge at mac.com Sun May 2 17:44:04 2021 From: mibridge at mac.com (Mike Giles) Date: Sun, 2 May 2021 23:44:04 +0100 Subject: [Tech1] Quadrant faders.. In-Reply-To: <22BF5AF4-8BE6-4BA1-AF43-D57F27F14E8F@mac.com> References: <22BF5AF4-8BE6-4BA1-AF43-D57F27F14E8F@mac.com> Message-ID: <21E79D52-57BA-444A-A973-07F40FBF3147@mac.com> Apologies for misspelling Longdon in my previous rant. I believe that his desks were much appreciated by Radio OBs - in Bristol the Longdon desk was mentioned only in hallowed tones! Mike G > On 2 May 2021, at 23:40, Mike Giles via Tech1 wrote: > > ? > I think there is little doubt that for whatever reason the choice was made to fade up by pulling towards you by Johnny Longdeon, it was the logical way for live broadcast. The cuffs of sports jackets may be apocryphal, but there was always the chance that a bundle of script pages was robust enough to push a fader of its back- stop and if that source comprised tone from an incoming OB, or worse, a spooling VT, then it would be heard. Another obvious benefit was that the faders you were using were brought closer to hand, which could save arm ache on something long running. Then there was the question of channel labels and parallax error - with the faders away from you when not in use, the channel label was unmistakably by the fader in question, and being in the middle of the desk, was unlikely to be obscured by pages of script, whereas labels adjacent to closed faders in the commercial direction could easily be covered by script, or if the label was at the other end, particularly for channels to one side or the other, there was the risk of parallax error. > > The one thing that always surprised me, after years of using BBC TV sound desks, was that mixing on commercial desks didn?t lead to mistakes in terms of knowing which way to move the fader - ?knowing? is probably not the right term, as it seemed to be instinctive, even when you had desks of both persuasions in the same control room. The only time I remember making a mistake was fortunately in rehearsal at LWT after is retired, when a VT put up tone on an open fader and I rushed to the desk (as Chas Davison would have put it) only to make it even louder! > > The elastic band might also have been less successful, with fewer anchor points on the script rest than in the middle of the desk, but I can?t imagine who would have done such a thing! > > Mike G > > > >>> On 2 May 2021, at 23:01, dave.mdv via Tech1 wrote: >>> >> ? >> I do know of a very popular SS at TVC who used elastic bands on the DK4/20 sound desks for a rapid fade, out hooked onto the knob above the fader! Cheers, Dave >> >> On 02/05/2021 19:27, David Taylor via Tech1 wrote: >>> Alan and co, >>> Quadrant Faders....and that regular topic of 'BBC faders': >>> It's interesting that Johnny Longdon claims that he used 'quadrant' faders first at the BBC in the early '60's, when he built 'The Logdon desk', as detailed in that now quite old Orbem article. I'm also happy to take his word for it that he did decide to have the fader working in a 'pull for fade up' manner. The stories about the risk of 'catching your cuffs' in the fader etc always seemed unlikely to me. >>> I do wonder though why Painton Qudrant faders hadn't been put to use in sound at the BBC prior to that. Longdon is using 'the thin Painton Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for instance; the one with the wonderful 'light show' when in use >>> The first use of a Painton Quadrant I have so far come across is in the Marconi BD579 mixer of early or mid 1950's: >>> >>> >>> And Pye had a desk of fairly design with a bank of Painton quadrant faders in the Scottish TV scanner of 1957. Note that both these had the earlier 'big' Painton fader...as found in the REDD51 desks at EMI Abbey Road of course. >>> Logdon's radio desk seems a bit late, but of course the Beeb were big on building their own sound desks and perhaps all the 'outside built' scanners had 'rotary faders'. >>> >>> Dave T >>> >>> (Just done two new articles on Pye audio mixers in OB scanners on - www.postfade.co.uk) >>> >>> On Sun, 2 May 2021 at 19:00, Alan Taylor via Tech1 wrote: >>>> I wouldn?t make too much of comparisons between quadrant faders used for vision mixing and sound mixing. >>>> >>>> Admittedly I haven?t ( officially ) done much vision mixing, but it seems to me that a vision mixer rests their fingertips on the cut buttons for rapid reaction and uses the fader from time to time, generally going full travel when the fader is operated. However a sound mixer constantly keeps their fingertips on multiple faders for rapid reaction and makes fine adjustments all the time, only fading mostly up or completely down at the start or end of a sequence. >>>> >>>> What is ergonomic for a sound mixer with quadrant faders might be quite different for a vision mixer using quadrant faders. >>>> >>>> Alan Taylor >>>> >>>>> On 2 May 2021, at 17:47, Bernard Newnham via Tech1 wrote: >>>>> >>>>> ? I don't know this man, maybe you do....... >>>>> >>>>> >>>>> -------- Forwarded Message -------- >>>>> Subject: BBC radio quadrant faders.. >>>>> Date: Sat, 1 May 2021 22:39:13 +0100 >>>>> From: db blueyonder >>>>> To: bernard.newnham at ntlworld.com >>>>> >>>>> >>>>> Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) >>>>> >>>>> Robert Miles asks - on your page http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of audio faders in the MCR13. Alan Taylor explains that the audio faders are 100% UP when they?re in the DOWN position, and Nick Ware says "It struck me as odd from day one, when I first saw TC sound and vision mixers, that vision faders faded up, which was entirely logical, while sound faded ?down? for ?up??. >>>>> >>>>> Ah, but on Roger Beckwith?s pages about (old) BBC Radio - http://www.orbem.co.uk - the man who designed mobile desks for OB trucks - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they are ..the opposite way around to those which came to dominate audio mixing: >>>>> ?..I believe my special projects one-off desks in the 1960s were among the first to use slider rather than rotary faders, and I had to decide which way they should travel to fade up or down. The commercial desks of the day tended to favour UP - away from the operator, and DOWN, toward the operator, as they did in the USA. I adopted UP for OFF and DOWN for ON, simply because our domestic switches do this, the opposite being the case in America?. >>>>> >>>>> Cheers, >>>>> >>>>> David. >>>>> >>>>> _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ >>>>> -- >>>>> Tech1 mailing list >>>>> Tech1 at tech-ops.co.uk >>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sun May 2 18:53:06 2021 From: davesound at btinternet.com (Dave Plowman) Date: Mon, 03 May 2021 00:53:06 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: <4B45C3ED-7D68-4FB0-8056-CC2B81115CCC@blueyonder.co.uk> Message-ID: <59268c9c29davesound@btinternet.com> Vision faders are generally fully up or down, unlike sound. Using the thumb as a stop for a fast fade up is much easier than the other way round. I'm sure most of us in freelance days ended up having to use either. But even acknowledging what you're used to is generally 'best' for you, I still preferred the BBC way. If nothing else a script etc can't knock one open. In article , Bernard Newnham via Tech1 wrote: > I don't know this man, maybe you do....... > -------- Forwarded Message -------- > Subject: BBC radio quadrant faders.. > Date: Sat, 1 May 2021 22:39:13 +0100 > From: db blueyonder > To: bernard.newnham at ntlworld.com > Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) > Robert Miles asks - on your page > http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction of > audio faders in the MCR13. Alan Taylor explains that the audio faders > are 100% UP when they?re in the DOWN position, and Nick Ware says "It > struck me as odd from day one, when I first saw TC sound and vision > mixers, that vision faders faded up, which was entirely logical, while > sound faded ?down? for ?up??. > Ah, but on Roger Beckwith?s pages about (old) BBC Radio - > http://www.orbem.co.uk - the man who designed mobile desks for OB trucks > - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, explains > why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are the way they > are ..the opposite way around to those which came to dominate audio mixing: > ?..I believe my special projects one-off desks in the 1960s were among > the first to use slider rather than rotary faders, and I had to decide > which way they should travel to fade up or down. The commercial desks of > the day tended to favour UP - away from the operator, and DOWN, toward > the operator, as they did in the USA. I adopted UP for OFF and DOWN for > ON, simply because our domestic switches do this, the opposite being the > case in America?. > Cheers, > David. > _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ -- Dave Plowman dave at davesound.co.uk London SW 12 From alanaudio at me.com Mon May 3 04:22:42 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 3 May 2021 10:22:42 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: That's an interesting picture of the Marconi mixer with the quadrant faders. It looks as though fading up is done by moving away from the operator. Note that the knobs on the quadrant faders are convex knobs, while most BBC quadrant faders have concave indents on the knobs. My hypothesis is that the BBC and EMI convention means that when using a quadrant fader, the operator can comfortably rest their palm on the desk while using fingertips to control multiple faders in their typical position of being about 75% up, in other words, the the control knob just above desk level and facing you. Somebody using that Marconi desk and similar ones would need to reach over the quadrants and sort of double back their fingers to operate the faders in a similar manner. I imagine this would be uncomfortable if done for extended periods. The fact that the Marconi desk had convex control knobs implies to me that the operator gripped either one control knob, or two adjacent control knobs between thumb and finger, rather than operating multiple faders with fingertips. That particular desk is quite tiny and I'm not sure what role it was designed for, so there might have been less need for 'fingertip balancing' of multiple microphones. Can any of the people who did Sypher work either confirm or dispel my memory that Syphers 3&4 had motorised quadrant faders? I seem to remember that being the case and imagining that they must have been the most expensive faders ever used, because few other customers would require such a device. Alan Taylor On 2 May 2021, at 2 May . 19:27, David Taylor wrote: > Alan and co, > Quadrant Faders....and that regular topic of 'BBC faders': > It's interesting that Johnny Longdon claims that he used 'quadrant' faders first at the BBC in the early '60's, when he built 'The Logdon desk', as detailed in that now quite old Orbem article. I'm also happy to take his word for it that he did decide to have the fader working in a 'pull for fade up' manner. The stories about the risk of 'catching your cuffs' in the fader etc always seemed unlikely to me. > I do wonder though why Painton Qudrant faders hadn't been put to use in sound at the BBC prior to that. Longdon is using 'the thin Painton Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for instance; the one with the wonderful 'light show' when in use > The first use of a Painton Quadrant I have so far come across is in the Marconi BD579 mixer of early or mid 1950's: > > And Pye had a desk of fairly design with a bank of Painton quadrant faders in the Scottish TV scanner of 1957. Note that both these had the earlier 'big' Painton fader...as found in the REDD51 desks at EMI Abbey Road of course. > Logdon's radio desk seems a bit late, but of course the Beeb were big on building their own sound desks and perhaps all the 'outside built' scanners had 'rotary faders'. > > Dave T > > (Just done two new articles on Pye audio mixers in OB scanners on - www.postfade.co.uk) -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Mon May 3 04:31:01 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Mon, 3 May 2021 10:31:01 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: Vision mixing desks haven't had "fader per channel" since the 1980s. And modern mixers don't even have the position of the fader related to a bank of buttons.? The main output bank, usually the upper of two or middle of three, is always on air, and sources to be mixed to are put on the lower preview bank. When the fader has been fully pushed over they swap, so it doesn't matter which way you push the fader. The Grass Valley 300 we had in the 80s - brand new to the BBC - had various selection buttons around the fader so that you could mix, wipe, add a key, or fade to black. For Pres assistant producers it tended to be a steep learning curve, but we were the envy of sport who needed a massive editing suite to do what we could do live. I think it was Brian Venner who rang me to ask how we did this -? https://www.youtube.com/watch?v=j3yf_lJtELI?? See 1.44 in. B On 02/05/2021 19:00, Alan Taylor via Tech1 wrote: > I wouldn?t make too much of comparisons between quadrant faders used > for vision mixing and sound mixing. > > Admittedly I haven?t ( officially ) done much vision mixing, but it > seems to me that a vision mixer rests their fingertips on the cut > buttons for rapid reaction and uses the fader from time to time, > generally going full travel when the fader is operated. However a > sound mixer constantly keeps their fingertips on multiple faders for > rapid reaction and makes fine adjustments all the time, only fading > mostly up or completely down at the start or end of a sequence. > > What is ergonomic for a sound mixer with quadrant faders might be > quite different for a vision mixer using quadrant faders. > > Alan Taylor > >> On 2 May 2021, at 17:47, Bernard Newnham via Tech1 >> wrote: >> >> ? I don't know this man, maybe you do....... >> >> >> -------- Forwarded Message -------- >> Subject: BBC radio quadrant faders.. >> Date: Sat, 1 May 2021 22:39:13 +0100 >> From: db blueyonder >> To: bernard.newnham at ntlworld.com >> >> >> >> Hi Bernie (..or, not knowing you, perhaps I should say Bernard..) >> >> Robert Miles asks - on your page >> http://tech-ops.co.uk/next/bits-of-our-history/ - about the direction >> of audio faders in the MCR13. Alan Taylor explains that the audio >> faders are 100% UP when they?re in the DOWN position, and Nick Ware >> says "It struck me as odd from day one, when I first saw TC sound and >> vision mixers, that vision faders faded up, which was entirely >> logical, while sound faded ?down? for ?up??. >> >> Ah, but on Roger Beckwith?s pages about (old) BBC Radio - >> http://www.orbem.co.uk - the man who designed mobile desks for OB >> trucks - http://www.orbem.co.uk/longden/longden.htm - Johnny Longden, >> explains why - http://www.orbem.co.uk/cons/consmem.htm#rs - they are >> the way they are ..the opposite way around to those which came to >> dominate audio mixing: >> ?..I believe my special projects one-off desks in the 1960s were >> among the first to use slider rather than rotary faders, and I had to >> decide which way they should travel to fade up or down. The >> commercial desks of the day tended to favour UP - away from the >> operator, and DOWN, toward the operator, as they did in the USA. I >> adopted UP for OFF and DOWN for ON, simply because our domestic >> switches do this, the opposite being the case in America?. >> >> Cheers, >> >> David. >> >> _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Mon May 3 04:57:23 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Mon, 3 May 2021 10:57:23 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: Alan, That Marconi B579 desk is a little mid-50's OB mixer, put in to most of their scanners at that time. The faders there are the big earlier version of the Painton Quadrant. The knob was always that shape. Here's a Pye valve mixer in use at Granada in 1956: [image: 1956-Pye 24 Channel Audio Mixer at Granada-via Richard Ellis-1500px.jpg] As it happens I'm just writing about Pye studio mixers and they all used Painton Quadrants: *THE PAINTON QUADRANT FADER* *The valve desks had the 'big' Painton Quadrant faders, that had two rows of 'studs', that the 'wiper' passed over to achieve the attenuation, and the new transistor desks brought out in the early 1960's adopted Painton's smaller quadrant as here:* [image: Painton quadrant fader coloured small.jpg] *The later smaller Painton Quadrant faders, with the wonderful illuminated bezels.* *The design used a 'quadrant', ie the wiper was connected to a pivoting arm that traversed a section of a circle...the quadrant as it was operated. It was the easiest way to build a 'bridge 'T', stepped ladder' attenuator that could remain at a constant impedance whilst attenuating the signal. For many years the broadcast industry had followed the telecoms world in using the same impedance for the input to a source, as was used in the output of the previous section. This gave the best transfer of the signal without loss and had been settled on as 600 ohms.This had worked well in the Post Office, with very, very long lines but when the recording world followed this pattern and it only worked if you had one tape recorder with an input impedance of 600 ohms, connected to your 600 ohm output amplifier. If you now connected a second tape recorder, also with a 600 ohm input, you got a 6dB loss in signal. So a better way was to use a low output impedance and then have high input impedances on the following equipment. So even faders got changed to being 10k instead of 600 ohm.* *The big 600 ohm Painton had 31 steps. From 0 to -15dB these were in 1dB increments. The taper beyond that was a follows: 6 steps @ 2dB per. Followed by 3 @ 3dB, 2 @ 4dB, 1 @ 5dB, 1 @ 7dB, 1 @ 9dB and off. [5]* *And there were 'steps', which didn't matter on almost every audio signal, but even these small steps could be heard on tones....like a held note an organ perhaps.* *As you can see in the above photo, the later quadrant came with a wonderful illuminated bezel. A micro-switch put on an additional light when you lifted the fader off the backstop as well; faders have never been as 'visual' ever again.* Dave T www.postfade.co.uk On Mon, 3 May 2021 at 10:23, Alan Taylor via Tech1 wrote: > That's an interesting picture of the Marconi mixer with the quadrant > faders. > > It looks as though fading up is done by moving away from the operator. > Note that the knobs on the quadrant faders are convex knobs, while most BBC > quadrant faders have concave indents on the knobs. > > My hypothesis is that the BBC and EMI convention means that when using a > quadrant fader, the operator can comfortably rest their palm on the desk > while using fingertips to control multiple faders in their typical position > of being about 75% up, in other words, the the control knob just above desk > level and facing you. Somebody using that Marconi desk and similar ones > would need to reach over the quadrants and sort of double back their > fingers to operate the faders in a similar manner. I imagine this would be > uncomfortable if done for extended periods. The fact that the Marconi desk > had convex control knobs implies to me that the operator gripped either one > control knob, or two adjacent control knobs between thumb and finger, > rather than operating multiple faders with fingertips. > > That particular desk is quite tiny and I'm not sure what role it was > designed for, so there might have been less need for 'fingertip balancing' > of multiple microphones. > > Can any of the people who did Sypher work either confirm or dispel my > memory that Syphers 3&4 had motorised quadrant faders? I seem to remember > that being the case and imagining that they must have been the most > expensive faders ever used, because few other customers would require such > a device. > > Alan Taylor > > > > On 2 May 2021, at 2 May . 19:27, David Taylor < > david at davidtaylorsound.co.uk> wrote: > > Alan and co, > Quadrant Faders....and that regular topic of 'BBC faders': > It's interesting that Johnny Longdon claims that he used 'quadrant' faders > first at the BBC in the early '60's, when he built 'The Logdon desk', as > detailed in that now quite old Orbem article. I'm also happy to take his > word for it that he did decide to have the fader working in a 'pull for > fade up' manner. The stories about the risk of 'catching your cuffs' in the > fader etc always seemed unlikely to me. > I do wonder though why Painton Qudrant faders hadn't been put to use in > sound at the BBC prior to that. Longdon is using 'the thin Painton > Quadrant', the one that is in the Pye MCR21 desk of 1962/3 for instance; > the one with the wonderful 'light show' when in use > The first use of a Painton Quadrant I have so far come across is in the > Marconi BD579 mixer of early or mid 1950's: > > And Pye had a desk of fairly design with a bank of Painton quadrant faders > in the Scottish TV scanner of 1957. Note that both these had the earlier > 'big' Painton fader...as found in the REDD51 desks at EMI Abbey Road of > course. > Logdon's radio desk seems a bit late, but of course the Beeb were big on > building their own sound desks and perhaps all the 'outside built' scanners > had 'rotary faders'. > > Dave T > > (Just done two new articles on Pye audio mixers in OB scanners on - > www.postfade.co.uk) > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1956-Pye 24 Channel Audio Mixer at Granada-via Richard Ellis-1500px.jpg Type: image/jpeg Size: 1013058 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Painton quadrant fader coloured small.jpg Type: image/jpeg Size: 418855 bytes Desc: not available URL: From alec.bray.2 at gmail.com Mon May 3 05:38:56 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Mon, 3 May 2021 11:38:56 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: <4658dd48-f57e-50ba-a67f-02fb8900250b@gmail.com> Hi Alan, On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: > Can any of the people who did Sypher work either confirm or dispel my > memory that Syphers 3&4 had motorised quadrant faders? Here is John Edon-Eadons paper on Sypher - may answer your question! http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf Good Ol' Tech Ops! -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Mon May 3 06:02:39 2021 From: pat.heigham at amps.net (patheigham) Date: Mon, 3 May 2021 12:02:39 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> Message-ID: <608fd84f.1c69fb81.61a74.0682@mx.google.com> When I joined Tech-ops in 1962, LG studios had the 180 degree rotary pots ? if they got noisy, a bit of nose grease on the studs solved it! I think G or was it E, was equipped with an EMI desk which had a very annoying Tuchel pluggery. However the TVC studios had desks which faded down when pushed away. I was told ? I think a bit ?tongue in cheek? that if the Sound Supervisor collapsed during a show, and fell forward over the desk, it was likely that it would then knock the faders closed, thus preventing an overmod to the transmitters! In those days there was only one trolley mounted limiter (Gaumont-Kalee), which had to be reserved days in advance for a production. Do today?s desks have tweakable limiters on each channel? Pat (well retired,now) Sent from Mail for Windows 10 From: Alan Taylor via Tech1 Sent: 03 May 2021 10:23 To: tech1 Subject: Re: [Tech1] Fwd: BBC radio quadrant faders.. That's an interesting picture of the Marconi mixer with the quadrant faders. It looks as though fading up is done by moving away from the operator. ?Note that the knobs on the quadrant faders are convex knobs, while most BBC quadrant faders have concave indents on the knobs.? -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Mon May 3 06:19:07 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 3 May 2021 12:19:07 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <4658dd48-f57e-50ba-a67f-02fb8900250b@gmail.com> References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> <4658dd48-f57e-50ba-a67f-02fb8900250b@gmail.com> Message-ID: <9C632BBB-DE08-4808-A683-478A8AB3DAF0@me.com> Thanks for that. It's a very comprehensive explanation of Sypher 1 and the reasons why it was created. Sypher 1 ( or just Sypher as it was called when there was only one of it ), didn't have any automation at all. It was all down to the operator getting it right. One pitfall was that the multitrack tape took a certain amount of time ( 12 frames ) to travel between the erase head and the record head. If you need to punch into record at a certain point, you needed to actually press the big red button 12 frames earlier than intended so that the erased material has reached the record head at the correct moment. If you punch into record a touch too early, you erase the end of the previous sequence and have to rebuild it all over again. Sod's Law dictates that you only ever chew the end off of a massively complex sequence. Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system where it could remember the operators movements and move the faders in the same manner agin ( synced by timecode ). If you have laid everything on tracks and engaged the automation, you can do a mix, review it and decide that it needs a little tweak. Next time round, all the faders will repeat whatever moves you previously made unless you touch one whereupon it moves under your control, with all the other faders doing what they did before. It was a wonderful system once you got used to it. Nerdy types might be amused to know that the user's fader movements were recorded onto 8" floppy disks - yes eight inch. I've never encountered them in the real world before or since. Syphers 3 & 4 used a different system and my memory is a bit vague about the details. I'm pretty sure it was automated, with motorised quadrant faders, but I can't remember much more than that, despite having spent countless days operating it. Alan Taylor On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 wrote: > Hi Alan, > On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >> Can any of the people who did Sypher work either confirm or dispel my memory that Syphers 3&4 had motorised quadrant faders? > > Here is John Edon-Eadons paper on Sypher - may answer your question! > > http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf > > > Good Ol' Tech Ops! > -- > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Mon May 3 06:28:41 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 3 May 2021 12:28:41 +0100 Subject: [Tech1] Fwd: BBC radio quadrant faders.. In-Reply-To: <608fd84f.1c69fb81.61a74.0682@mx.google.com> References: <3F38C153-F64E-4FB5-AFF0-07777368E4D0@me.com> <608fd84f.1c69fb81.61a74.0682@mx.google.com> Message-ID: <79642C41-C7E0-4504-838D-0F32C4B787C7@me.com> With digital desks, the signal gets converted into digits at the earliest possible point and then everything is done with software. The faders, control knobs and switches merely send data to the computer telling it what the operator has done with it. Mixing, EQ and dynamics are all done by computer algorithms, so in simple terms you can have tweakable anything on everything. Not just one limiter per channel, but very sophisticated dynamic processing per channel. Alan Taylor On 3 May 2021, at 3 May . 12:02, patheigham wrote: > Do today?s desks have tweakable limiters on each channel? > > Pat > (well retired,now) > -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Mon May 3 07:09:22 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 3 May 2021 13:09:22 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <3888njfh3oit5rd7298i8b15.1620043091928@pgtmedia.co.uk> References: <3888njfh3oit5rd7298i8b15.1620043091928@pgtmedia.co.uk> Message-ID: If you're talking about Sypher 1, yes they were quadrant faders. I had been asking whether Syphers 3 & 4 had motorised quadrant faders for computer automation. Sypher 2 was equipped with Necam linear 'flying faders". Alan Taylor On 3 May 2021, at 3 May . 12:58, Paul Thackray wrote: > Vary low res pictures, but look quadrant to me. (Item is split between the first and last page. > > Paul > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nick at nickway.co.uk Mon May 3 07:17:04 2021 From: nick at nickway.co.uk (Nick Way) Date: Mon, 3 May 2021 13:17:04 +0100 (BST) Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <3888njfh3oit5rd7298i8b15.1620043091928@pgtmedia.co.uk> Message-ID: <1839754540.153266.1620044224368@email.ionos.co.uk> An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Mon May 3 07:51:57 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Mon, 3 May 2021 13:51:57 +0100 Subject: [Tech1] Syphers 3 and 4 Message-ID: And here is a BBC engineering news sheet, that has details about Sypher 3&4. The desks are SSL 5000's.....really surprised to hear that SSL automated a quadrant....and also surprised that the BBC would still want them. Everyone else was truly delighted with 'flat faders'! Quadrants only made sense in the days when you wanted a constant impedance volume pot, as it was the easiest way to do the 'balanced T' design I guess. The Americans, very slow at moving away from rotary pots, bought into the idea, as Columbia Records, who built there own desks used the Paintons and so various other American companies started copying them. But Lo Z feeding into Hi Z won the day and even the thin Painton Quadrants stopped being 600 ohm and became 10K with a PCB track eventually.Neve had great trouble getting PO&G faders to be consistent but P&G were very wary of letting Neve see how they were making them. It's the subject of one of Rupert's interesting 'Shefford' videos on the Rupert Neve website. Attached is the Eng newsletter: Dave T -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1987-Autumn-EngInf30-TC Sypher 3&4-reduced size.pdf Type: application/pdf Size: 3592345 bytes Desc: not available URL: From jpn at imixmics.co.uk Mon May 3 08:44:19 2021 From: jpn at imixmics.co.uk (John Nottage) Date: Mon, 3 May 2021 14:44:19 +0100 Subject: [Tech1] R.I.P. H Message-ID: After last night's L.o.D. excitement/disappointment (depending on your P.o.V.), it seems H didn't actually survive for very long in prison! John Nottage -------------- next part -------------- A non-text attachment was scrubbed... Name: RIP H.jpg Type: image/jpeg Size: 50543 bytes Desc: not available URL: From graeme.wall at icloud.com Mon May 3 09:42:16 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Mon, 3 May 2021 15:42:16 +0100 Subject: [Tech1] R.I.P. H In-Reply-To: References: Message-ID: Well that?s the prospect of a sequel down the drain. ? Graeme Wall > On 3 May 2021, at 14:44, John Nottage via Tech1 wrote: > > After last night's L.o.D. excitement/disappointment (depending on your P.o.V.), it seems H didn't actually survive for very long in prison! > > John Nottage > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From peter.fox at zero51.force9.co.uk Mon May 3 10:15:05 2021 From: peter.fox at zero51.force9.co.uk (Peter Fox) Date: Mon, 3 May 2021 16:15:05 +0100 Subject: [Tech1] R.I.P. H In-Reply-To: References: Message-ID: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> I am sure he could be re-hydrated if necessary Peter Fox On 3 May 2021, at 15:43, Graeme Wall via Tech1 wrote: ?Well that?s the prospect of a sequel down the drain. ? Graeme Wall > On 3 May 2021, at 14:44, John Nottage via Tech1 wrote: > > After last night's L.o.D. excitement/disappointment (depending on your P.o.V.), it seems H didn't actually survive for very long in prison! > > John Nottage > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From paul at pgtmedia.co.uk Mon May 3 13:26:00 2021 From: paul at pgtmedia.co.uk (Paul Thackray) Date: Mon, 03 May 2021 19:26:00 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <9C632BBB-DE08-4808-A683-478A8AB3DAF0@me.com> Message-ID: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> An HTML attachment was scrubbed... URL: From rogerbunce at btinternet.com Mon May 3 16:21:16 2021 From: rogerbunce at btinternet.com (ROGER BUNCE) Date: Mon, 3 May 2021 22:21:16 +0100 (BST) Subject: [Tech1] R.I.P. H In-Reply-To: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> References: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> Message-ID: <1e484194.38dd9.179341b514b.Webtop.118@btinternet.com> Did anyone notice that the solution to 'Line of Duty' was given away by 'Call the Midwife', immediately before, when the shop sign 'Buckles' featured prominently. luv, Rog. ------ Original Message ------ From: "Peter Fox via Tech1" To: "Graeme Wall" Cc: "Tech ops" Sent: Monday, 3 May, 21 At 16:15 Subject: Re: [Tech1] R.I.P. H I am sure he could be re-hydrated if necessary Peter Fox On 3 May 2021, at 15:43, Graeme Wall via Tech1 wrote: ?Well that?s the prospect of a sequel down the drain. ? Graeme Wall On 3 May 2021, at 14:44, John Nottage via Tech1 wrote: After last night's L.o.D. excitement/disappointment (depending on your P.o.V.), it seems H didn't actually survive for very long in prison! John Nottage -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Mon May 3 17:09:00 2021 From: j at howell61.f9.co.uk (John Howell) Date: Mon, 3 May 2021 23:09:00 +0100 Subject: [Tech1] BBC radio quadrant faders In-Reply-To: <1839754540.153266.1620044224368@email.ionos.co.uk> References: <3888njfh3oit5rd7298i8b15.1620043091928@pgtmedia.co.uk> <1839754540.153266.1620044224368@email.ionos.co.uk> Message-ID: They were 'flat' motorised faders Nick with square aluminium dished 'knobs' for fingertip control. I had issues with these, they had sharp corners, and I suffered from dry skin which meant touching them to 'take control' didn't alwways work. Original Sy1 had flat faders, they became motorised when the new Neve desk arrived. John H. > On 3 May 2021, at 13:17, Nick Way via Tech1 wrote: > Hi Alan, > > Syphers 3&4 certainly had quadrant faders but not the type you knew. SSL were told categorically we required them despite their protestations and as far as I remember they worked well. The Gram Op's desk at the back had the same faders too. The audiofile didn't! > > Cheers. > > Nick WAY >> On 03/05/2021 13:09 Alan Taylor via Tech1 wrote: >> >> >> If you're talking about Sypher 1, yes they were quadrant faders. I had been asking whether Syphers 3 & 4 had motorised quadrant faders for computer automation. Sypher 2 was equipped with Necam linear 'flying faders". >> >> Alan Taylor >> >> >> >>> On 3 May 2021, at 3 May . 12:58, Paul Thackray wrote: >>> Vary low res pictures, but look quadrant to me. (Item is split between the first and last page. >>> >>> Paul >>> >>> Paul Thackray >>> PGT Media Consulting Ltd. >>> +44 7802 243979 >>> Mail; paul at pgtmedia.co.uk >>> Web; http://www.pgtmedia.co.uk >>> Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 >>> IMDB; http://www.imdb.com/name/nm1488554/ >>> >>> >> -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alec.bray.2 at gmail.com Tue May 4 03:34:49 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Tue, 4 May 2021 09:34:49 +0100 Subject: [Tech1] R.I.P. H In-Reply-To: <1e484194.38dd9.179341b514b.Webtop.118@btinternet.com> References: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> <1e484194.38dd9.179341b514b.Webtop.118@btinternet.com> Message-ID: <55f79e0d-1969-e80e-11b0-0f9df2510213@gmail.com> Hi Rog On 03/05/2021 22:21, ROGER BUNCE via Tech1 wrote: > 'Call the Midwife', immediately before, when the shop sign 'Buckles' > featured prominently Having entertained us with a thoroughly gripping story tying together all the "Gothic" novels, surely there is something that can be done with this interesting conjunction. Ian Buckells could have been bourn round the 1970s.? let's say his father was 25 at the time - that means he would have been 5 at the time of the current series of "Call the Midwife".? So Ian's Grandfather is the person we need to look for. This person could have been a brother or a cousin of Fred Buckle.? Realising that the "other" branch was up to no good, Fred Buckles dad change the name slightly to be disassociated with the OCG side of the family (that's why we don't know of them). At the period of CtM (1966 this series) the Kray twins were active in the East End, so Fred's cousin (or brother) would most likely have got involved with them - and the OCG carried on after the Krays ...? Of course, the policeman in the East End around this time was PC George Dixon: Dock Green police station was in the East End of London, so the Buckells/Buckles were probably known to Andy Crawford. DCI Charlie Barlow was up t'North in Kirby - NewTown - but he first appeared fully formed.? What had been his early life? Surely he may have cut his teeth in the East End of London before promotion in 1962 ... The possibilities are --- endless!!! Well?? ---? over to? you!! Best regards, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From alec.bray.2 at gmail.com Tue May 4 05:07:05 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Tue, 4 May 2021 11:07:05 +0100 Subject: [Tech1] R.I.P. H In-Reply-To: <55f79e0d-1969-e80e-11b0-0f9df2510213@gmail.com> References: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> <1e484194.38dd9.179341b514b.Webtop.118@btinternet.com> <55f79e0d-1969-e80e-11b0-0f9df2510213@gmail.com> Message-ID: <21875b4a-94ae-0618-d300-274eaf5d6acd@gmail.com> ooops On 04/05/2021 09:34, Alec Bray wrote: > > Ian Buckells could have been bourn round the 1970s.? let's say his > father was 25 at the time - that means he would have been 5 > Let's try again... Ian Buckells could have been born round the 1970s.? let's say his father was 25 at the time - that means he would have been 20 or so at the time of CtM- and so it is likely that it is Ian's Grandfather .... -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From rogerbunce at btinternet.com Tue May 4 05:33:53 2021 From: rogerbunce at btinternet.com (ROGER BUNCE) Date: Tue, 4 May 2021 11:33:53 +0100 (BST) Subject: [Tech1] R.I.P.H Message-ID: <71fd3f3c.3a5b7.17936f0fcd9.Webtop.113@btinternet.com> And watching "Gideon of the Yard" on talking pictures, last night, a detective sergeant, played by Glynn Houston, was named 'Carmichael' - clearly a kinsman of the nasty John-Birt-like lady in 'Line of Duty'. While Detective Sergeant Lomax, in 'Line of Duty' may be a descendant of Detective Inspector Lomax, who featured in the Quatermass stories of the 1950s. (Although, in the Hammer Film version, Inspector Lomax looked remarkably like Dixon of Dock Green!) luv, Rog. ------ Original Message ------ From: "Alec Bray" To: tech1 at tech-ops.co.uk; "ROGER BUNCE" Sent: Tuesday, 4 May, 21 At 09:34 Subject: Re: [Tech1] R.I.P. H Hi Rog On 03/05/2021 22:21, ROGER BUNCE via Tech1 wrote: 'Call the Midwife', immediately before, when the shop sign 'Buckles' featured prominently Having entertained us with a thoroughly gripping story tying together all the "Gothic" novels, surely there is something that can be done with this interesting conjunction. Ian Buckells could have been bourn round the 1970s. let's say his father was 25 at the time - that means he would have been 5 at the time of the current series of "Call the Midwife". So Ian's Grandfather is the person we need to look for. This person could have been a brother or a cousin of Fred Buckle. Realising that the "other" branch was up to no good, Fred Buckles dad change the name slightly to be disassociated with the OCG side of the family (that's why we don't know of them). At the period of CtM (1966 this series) the Kray twins were active in the East End, so Fred's cousin (or brother) would most likely have got involved with them - and the OCG carried on after the Krays ... Of course, the policeman in the East End around this time was PC George Dixon: Dock Green police station was in the East End of London, so the Buckells/Buckles were probably known to Andy Crawford. DCI Charlie Barlow was up t'North in Kirby - NewTown - but he first appeared fully formed. What had been his early life? Surely he may have cut his teeth in the East End of London before promotion in 1962 ... The possibilities are --- endless!!! Well --- over to you!! Best regards, Alec -- =======Alec Brayalec.bray.2 at gmail.com Mob: 07789 561 346Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From rogerbunce at btinternet.com Tue May 4 05:34:53 2021 From: rogerbunce at btinternet.com (ROGER BUNCE) Date: Tue, 4 May 2021 11:34:53 +0100 (BST) Subject: [Tech1] R.I.P. H In-Reply-To: <21875b4a-94ae-0618-d300-274eaf5d6acd@gmail.com> References: <9A094747-26A0-4C18-B1BA-056836250EBD@zero51.force9.co.uk> <1e484194.38dd9.179341b514b.Webtop.118@btinternet.com> <55f79e0d-1969-e80e-11b0-0f9df2510213@gmail.com> <21875b4a-94ae-0618-d300-274eaf5d6acd@gmail.com> Message-ID: <203a5658.3a5c1.17936f1e76b.Webtop.113@btinternet.com> DEFINATELY! ------ Original Message ------ From: "Alec Bray" To: tech1 at tech-ops.co.uk; "ROGER BUNCE" Sent: Tuesday, 4 May, 21 At 11:07 Subject: Re: [Tech1] R.I.P. H ooops On 04/05/2021 09:34, Alec Bray wrote: Ian Buckells could have been bourn round the 1970s. let's say his father was 25 at the time - that means he would have been 5 Let's try again... Ian Buckells could have been born round the 1970s. let's say his father was 25 at the time - that means he would have been 20 or so at the time of CtM- and so it is likely that it is Ian's Grandfather .... -- =======Alec Brayalec.bray.2 at gmail.com Mob: 07789 561 346Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Tue May 4 06:20:42 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Tue, 4 May 2021 12:20:42 +0100 Subject: [Tech1] TVC and TV Theatre Pye consoles Message-ID: I'm now writing up Part Three of the story of the Pye sound consoles. The BBC obviously fitted out TC3, TC2, TC4 and 5 with BBC Type 'B' mixers ...or were they 'D's then? Anyway the BBC had four of the big semi-circular Pye's I believe. So when TC1 opened (finally) in April 1964, it had this one: [image: 1963-43 channel Pye console in BBC TC1 -Brochure-1-V2-dt.jpg] John Howell's given me some really great detail on these desks and this was a 43 channel. It was followed at TVC by a 30 channel in TC7, which had a considerably delayed opening of July 1965. Finally TC6 - a 36 channel Pye -opening as late as 1967, as a colour studio. So I guess with the delays, that the BBC had been storing them, or Pye had been delaying delivering. Anyway, there was one other, that was the desk for the Television Theatre. The timescale for that is hard to pin down. TV Theatre was taken over in 1953 and had a 16 or 24 valve Pye desk I believe. That'll be one like the Pye Granada desk in my last email about the big Painton faders. In 1956, the Theatre got an remake...but can't have got a Pye...too early. But in 1968/9 it went colour with new control rooms. Did it get it's 36 channel Pye desk then...seems a bit late? Anyway Barry Bonner showed me a great photo of a Pye desk in The Golders Green Hippodrome then, which in fact was too small (the number of 'bays' in it) for it to be the TC1 desk that Barry thought it was....I suspect the TC6 30 channel or even the TV Theatre desk (if it existed then), being re-housed for awhile. There are photos of 'Swap Shop' being mixed in TC7, with a Pye in 1974 and also that great photo from Nick Ware of it TC7, mid-70's also. In 1971 Pebble Mill Studio 'A' got a 36 Channel Pye 'refurbished'...so that'll be TC6's I guess. Thanks in advance for your usual help in all things 'BBC sound'. David T www.postfade.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1963-43 channel Pye console in BBC TC1 -Brochure-1-V2-dt.jpg Type: image/jpeg Size: 1362763 bytes Desc: not available URL: From bernie833 at gmail.com Tue May 4 14:21:53 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Tue, 4 May 2021 20:21:53 +0100 Subject: [Tech1] Kermode's film show Message-ID: <4714d835-0a1b-5abd-7435-9ca494abf5e7@gmail.com> I was watching Mark Kermode? last night on BBC4, on British historical films. Fairly early on he featured Pier Paulo Pasolini's The Canterbury Tales, made here and featuring lots of British actors.? I haven't read the book, but I did go to the London theatre production many years ago. What I didn't remember were the large number of naked dancing ladies featuring in one of the two short clips. Don't think they had that on the stage - I would have remembered. I discovered that the whole film is on YouTube, dubbed into Hungarian, so I could show my wife the scene - she did study the book. Watching the rest of the film, I was surprised to see Tom Baker? - as you've probably never seen him.? Enjoy - https://www.youtube.com/watch?v=0WTOAkdptsU&t=4799s I still think Pasolini is rubbish. B -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Tue May 4 15:19:33 2021 From: alanaudio at me.com (Alan Taylor) Date: Tue, 4 May 2021 21:19:33 +0100 Subject: [Tech1] Kermode's film show In-Reply-To: <4714d835-0a1b-5abd-7435-9ca494abf5e7@gmail.com> References: <4714d835-0a1b-5abd-7435-9ca494abf5e7@gmail.com> Message-ID: <89521F30-97C3-4F27-A798-9DF18E1005D5@me.com> The Canterbury Tales was quite mild compared to what he did later in his career. Tom Baker has form for raunchy behaviour on screen. In Life and Loves of a She Devil, he played the part of a randy priest and during one of the bonking scenes, absolutely nothing was left to the imagination of those viewing the output of the camera. There was no way it could have been transmitted on anything other than a porn channel. In post production, the PA was given the task of wiggling a joystick ( oooh matron !) to move around a triangular soft edged shadow in order to conceal his wedding tackle from the viewers. I?m told that after a number of failed attempts, they ended up doing it frame by frame. The end result looked quite natural and his testicular modesty was preserved, but many viewers were convinced that they really did see the bits which were quite subtly masked out. Philip Saville shot a number of sex scenes in the series and he had a penchant for showing the foreplay normally, but for the intimate moment itself, he tended to use a reflection shot in something which wasn?t actually a mirror. Maybe polished furniture or some similar shiny surface. Some viewers wrote in and complained about what they saw, but the reality was that they didn?t actually see on screen what they thought they had seen. Their imaginations filled in the missing details. I love those Mark Kermode shows. By the end of each one I have a list of movies I either want to see, or to see again and he often highlights aspects which had passed me by. Alan Taylor > On 4 May 2021, at 20:22, Bernard Newnham via Tech1 wrote: > > ? I was watching Mark Kermode last night on BBC4, on British historical films. Fairly early on he featured Pier Paulo Pasolini's The Canterbury Tales, made here and featuring lots of British actors. I haven't read the book, but I did go to the London theatre production many years ago. What I didn't remember were the large number of naked dancing ladies featuring in one of the two short clips. Don't think they had that on the stage - I would have remembered. > > I discovered that the whole film is on YouTube, dubbed into Hungarian, so I could show my wife the scene - she did study the book. Watching the rest of the film, I was surprised to see Tom Baker - as you've probably never seen him. Enjoy - https://www.youtube.com/watch?v=0WTOAkdptsU&t=4799s > > I still think Pasolini is rubbish. > > B > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Tue May 4 18:07:14 2021 From: j at howell61.f9.co.uk (John Howell) Date: Wed, 5 May 2021 00:07:14 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> Message-ID: Paul, None of the Sypher Suites had quadrant faders. Attached is a photo of myself working on Dr Who in the late 1980s in Sypher 1. This was the original Neve desk and was not computer assisted. The area was refurbished and the replacement Neve desk had computer assistance with motor driven faders, they were silky smooth, a joy to use, but they were 'flat' not 'quadrant'. As I wrote in an earlier email Sypher 3 & 4 had flat faders both with the SSL desks and the Virtua system that followed. In case my understanding of 'quadrant' is incorrect I am obliged to Barry Bonner for a photo of quadrant faders in TC2. Regards, John Howell. On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: > > Second attempt at replying as the file was too big. > > https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 > > This is the eng info about Sypher 3 and 4. > First and last page. > Lo res picture , but clearly quadrant faders > > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > > IMDB; http://www.imdb.com/name/nm1488554/ > > > *From:* tech1 at tech-ops.co.uk > *Sent:* 3 May 2021 12:19 > *To:* tech1 at tech-ops.co.uk > *Reply to:* alanaudio at me.com > *Subject:* Re: [Tech1] BBC radio quadrant faders.. > > > Thanks for that. ?It's a very comprehensive explanation of Sypher 1 > and the reasons why it was created. Sypher 1 ( or just Sypher as it > was called when there was only one of it ), didn't have any automation > at all. ?It was all down to the operator getting it right. ?One > pitfall was that the multitrack tape took a certain amount of time ( > 12 frames ) to travel between the erase head and the record head. If > you need to punch into record at a certain point, you needed to > actually press the big red button 12 frames earlier than intended so > that the erased material has reached the record head at the correct > moment. If you punch into record a touch too early, you erase the end > of the previous sequence and have to rebuild it all over again. ?Sod's > Law dictates that you only ever chew the end off of a massively > complex sequence. > > Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system > where it could remember the operators movements and move the faders in > the same manner agin ( synced by timecode ). If you have laid > everything on tracks and engaged the automation, you can do a mix, > review it and decide that it needs a little tweak. Next time round, > all the faders will repeat whatever moves you previously made unless > you touch one whereupon it moves under your control, with all the > other faders doing what they did before. It was a wonderful system > once you got used to it. ?Nerdy types might be amused to know that the > user's fader movements were recorded onto 8" floppy disks - yes eight > inch. I've never encountered them in the real world before or since. > > Syphers 3 & 4 used a different system and my memory is a bit vague > about the details. ?I'm pretty sure it was automated, with motorised > quadrant faders, but I can't remember much more than that, despite > having spent countless days operating it. > > Alan Taylor > > > On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 > > wrote: > >> Hi Alan, >> >> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>> Can any of the people who did Sypher work either confirm or dispel >>> my memory that Syphers 3&4 had motorised quadrant faders? >> >> >> Here is John Edon-Eadons paper on Sypher - may answer your question! >> >> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >> >> >> Good Ol' Tech Ops! >> >> -- >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob:07789 561 346 >> Tel:0118 981 7502 >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Wed May 5 02:47:15 2021 From: j at howell61.f9.co.uk (John Howell) Date: Wed, 5 May 2021 08:47:15 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> Message-ID: <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Sorry, I forgot to attach the pictures here they are, John. On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: > > Second attempt at replying as the file was too big. > > https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 > > This is the eng info about Sypher 3 and 4. > First and last page. > Lo res picture , but clearly quadrant faders > > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > > IMDB; http://www.imdb.com/name/nm1488554/ > > > *From:* tech1 at tech-ops.co.uk > *Sent:* 3 May 2021 12:19 > *To:* tech1 at tech-ops.co.uk > *Reply to:* alanaudio at me.com > *Subject:* Re: [Tech1] BBC radio quadrant faders.. > > > Thanks for that. ?It's a very comprehensive explanation of Sypher 1 > and the reasons why it was created. Sypher 1 ( or just Sypher as it > was called when there was only one of it ), didn't have any automation > at all. ?It was all down to the operator getting it right. ?One > pitfall was that the multitrack tape took a certain amount of time ( > 12 frames ) to travel between the erase head and the record head. If > you need to punch into record at a certain point, you needed to > actually press the big red button 12 frames earlier than intended so > that the erased material has reached the record head at the correct > moment. If you punch into record a touch too early, you erase the end > of the previous sequence and have to rebuild it all over again. ?Sod's > Law dictates that you only ever chew the end off of a massively > complex sequence. > > Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system > where it could remember the operators movements and move the faders in > the same manner agin ( synced by timecode ). If you have laid > everything on tracks and engaged the automation, you can do a mix, > review it and decide that it needs a little tweak. Next time round, > all the faders will repeat whatever moves you previously made unless > you touch one whereupon it moves under your control, with all the > other faders doing what they did before. It was a wonderful system > once you got used to it. ?Nerdy types might be amused to know that the > user's fader movements were recorded onto 8" floppy disks - yes eight > inch. I've never encountered them in the real world before or since. > > Syphers 3 & 4 used a different system and my memory is a bit vague > about the details. ?I'm pretty sure it was automated, with motorised > quadrant faders, but I can't remember much more than that, despite > having spent countless days operating it. > > Alan Taylor > > > On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 > > wrote: > >> Hi Alan, >> >> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>> Can any of the people who did Sypher work either confirm or dispel >>> my memory that Syphers 3&4 had motorised quadrant faders? >> >> >> Here is John Edon-Eadons paper on Sypher - may answer your question! >> >> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >> >> >> Good Ol' Tech Ops! >> >> -- >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob:07789 561 346 >> Tel:0118 981 7502 >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: TC2 .jpg Type: image/jpeg Size: 2845840 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Dr Who.jpg Type: image/jpeg Size: 1040516 bytes Desc: not available URL: From david at davidtaylorsound.co.uk Wed May 5 03:09:14 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Wed, 5 May 2021 09:09:14 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: John, Great photos. What synchroniser was in use in Sypher 1 then John, I can't see a control panel for one? When was the TC2 pic do you think? I must ask my Neve contact John Turner about putting Quadrant faders in Neve's....I've never heard of it before. David T On Wed, 5 May 2021 at 08:47, John Howell via Tech1 wrote: > Sorry, I forgot to attach the pictures here they are, > > John. > > > > > > On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: > > > Second attempt at replying as the file was too big. > > https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 > > This is the eng info about Sypher 3 and 4. > First and last page. > Lo res picture , but clearly quadrant faders > > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 <+447802243979> > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > *From:* tech1 at tech-ops.co.uk > *Sent:* 3 May 2021 12:19 > *To:* tech1 at tech-ops.co.uk > *Reply to:* alanaudio at me.com > *Subject:* Re: [Tech1] BBC radio quadrant faders.. > > Thanks for that. It's a very comprehensive explanation of Sypher 1 and > the reasons why it was created. Sypher 1 ( or just Sypher as it was called > when there was only one of it ), didn't have any automation at all. It was > all down to the operator getting it right. One pitfall was that the > multitrack tape took a certain amount of time ( 12 frames ) to travel > between the erase head and the record head. If you need to punch into > record at a certain point, you needed to actually press the big red button > 12 frames earlier than intended so that the erased material has reached the > record head at the correct moment. If you punch into record a touch too > early, you erase the end of the previous sequence and have to rebuild it > all over again. Sod's Law dictates that you only ever chew the end off of > a massively complex sequence. > > Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system where > it could remember the operators movements and move the faders in the same > manner agin ( synced by timecode ). If you have laid everything on tracks > and engaged the automation, you can do a mix, review it and decide that it > needs a little tweak. Next time round, all the faders will repeat whatever > moves you previously made unless you touch one whereupon it moves under > your control, with all the other faders doing what they did before. It was > a wonderful system once you got used to it. Nerdy types might be amused to > know that the user's fader movements were recorded onto 8" floppy disks - > yes eight inch. I've never encountered them in the real world before or > since. > > Syphers 3 & 4 used a different system and my memory is a bit vague about > the details. I'm pretty sure it was automated, with motorised quadrant > faders, but I can't remember much more than that, despite having spent > countless days operating it. > > Alan Taylor > > > On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 > wrote: > > Hi Alan, > On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: > > Can any of the people who did Sypher work either confirm or dispel my > memory that Syphers 3&4 had motorised quadrant faders? > > > Here is John Edon-Eadons paper on Sypher - may answer your question! > > http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf > > > Good Ol' Tech Ops! > > -- > ======= > > Alec Bray > alec.bray.2 at gmail.com > Mob: 07789 561 346 <07789561346> > Tel: 0118 981 7502 <01189817502> > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From gary at garyclarkesound.com Wed May 5 03:11:14 2021 From: gary at garyclarkesound.com (Gary Clarke) Date: Wed, 5 May 2021 09:11:14 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: Hi John, good to hear from you. I'm afraid your memory is misleading you. Sypher 3 and 4 did indeed have quadrant style faders. They were a special design by SSL for the 3000 consoles and caused no end of trouble. I believe they were a Penny and Giles bespoke design. There were 24 mono faders associated with the A80 24 track tape machine, 8 for the 8 track and 8 stereo faders for FX rerurns. The gram op had 10 stereo faders on his own desk. I remember being told each suite cost 250K when commissioned. Thus was considerably more than my 3 bed semi cost at the time. Data was stored on Bernoulli 8 inch floppy drives. Audio file data was stored using a PCM video recorder. Much time in Sypher was spent waiting for sound maintenance to come and fix the system though some truly great projects were mixed in the suites. The quadrant faders had massive problems with the motors having to move the fader over a curve. They would frequently burn out. I had one catch fire on my while mixing. This caused no end of jokes about my hot mix. I have a picture somewhere of the suite in its original design with grams behind an upstand. This was later replaced with a couch for directors to snooze in while the dub progressed. Gary. On Wed, 5 May 2021, 08:48 John Howell via Tech1, wrote: > Sorry, I forgot to attach the pictures here they are, > > John. > > > > > > On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: > > > Second attempt at replying as the file was too big. > > https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 > > This is the eng info about Sypher 3 and 4. > First and last page. > Lo res picture , but clearly quadrant faders > > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 <+447802243979> > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > *From:* tech1 at tech-ops.co.uk > *Sent:* 3 May 2021 12:19 > *To:* tech1 at tech-ops.co.uk > *Reply to:* alanaudio at me.com > *Subject:* Re: [Tech1] BBC radio quadrant faders.. > > Thanks for that. It's a very comprehensive explanation of Sypher 1 and > the reasons why it was created. Sypher 1 ( or just Sypher as it was called > when there was only one of it ), didn't have any automation at all. It was > all down to the operator getting it right. One pitfall was that the > multitrack tape took a certain amount of time ( 12 frames ) to travel > between the erase head and the record head. If you need to punch into > record at a certain point, you needed to actually press the big red button > 12 frames earlier than intended so that the erased material has reached the > record head at the correct moment. If you punch into record a touch too > early, you erase the end of the previous sequence and have to rebuild it > all over again. Sod's Law dictates that you only ever chew the end off of > a massively complex sequence. > > Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system where > it could remember the operators movements and move the faders in the same > manner agin ( synced by timecode ). If you have laid everything on tracks > and engaged the automation, you can do a mix, review it and decide that it > needs a little tweak. Next time round, all the faders will repeat whatever > moves you previously made unless you touch one whereupon it moves under > your control, with all the other faders doing what they did before. It was > a wonderful system once you got used to it. Nerdy types might be amused to > know that the user's fader movements were recorded onto 8" floppy disks - > yes eight inch. I've never encountered them in the real world before or > since. > > Syphers 3 & 4 used a different system and my memory is a bit vague about > the details. I'm pretty sure it was automated, with motorised quadrant > faders, but I can't remember much more than that, despite having spent > countless days operating it. > > Alan Taylor > > > On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 > wrote: > > Hi Alan, > On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: > > Can any of the people who did Sypher work either confirm or dispel my > memory that Syphers 3&4 had motorised quadrant faders? > > > Here is John Edon-Eadons paper on Sypher - may answer your question! > > http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf > > > Good Ol' Tech Ops! > > -- > ======= > > Alec Bray > alec.bray.2 at gmail.com > Mob: 07789 561 346 <07789561346> > Tel: 0118 981 7502 <01189817502> > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Wed May 5 03:47:36 2021 From: j at howell61.f9.co.uk (John Howell) Date: Wed, 5 May 2021 09:47:36 +0100 Subject: [Tech1] TVC and TV Theatre Pye consoles In-Reply-To: References: Message-ID: David, If it helps you narrow down the opening of TC1, the earliest entry in my diary is for "Exercises" on 5th of April 1964. These were quite possibly the proving trials ("snagging"). The next entry is for a drama in the 'Festival' series on 20-22 April 1964. Regards, John H. On 04/05/2021 12:20, David Taylor via Tech1 wrote: > I'm now writing up Part Three of the story of the Pye sound consoles. > The BBC obviously fitted out TC3, TC2, TC4 and 5 with BBC Type 'B' > mixers ...or were they 'D's then? Anyway the BBC had four of the big > semi-circular Pye's I believe. So when TC1 opened (finally) in April > 1964, it had this one: > 1963-43 channel Pye console in BBC TC1 -Brochure-1-V2-dt.jpg > John Howell's given me some really great detail on these desks and > this was a 43 channel. > It was followed at TVC by a 30 channel in TC7, which had a > considerably delayed opening of July 1965. Finally TC6 - a 36 channel > Pye -opening as late as 1967, as a colour studio. So I guess with the > delays, that the BBC had been storing them, or Pye had been delaying > delivering. > > Anyway, there was one other, that was the desk for the Television Theatre. > The timescale for that is hard to pin down. > TV Theatre was taken over in 1953 and had a 16 or 24 valve Pye desk I > believe. That'll be one like the Pye Granada desk in my last email > about the big Painton faders. > In 1956, the Theatre got an remake...but can't have got a Pye...too > early. But in 1968/9 it went colour with new control rooms. Did it get > it's 36 channel Pye desk then...seems a bit late? > Anyway Barry Bonner showed me a great photo of a Pye desk in The > Golders Green Hippodrome then, which in fact was too small (the number > of 'bays' in it) for it to be the TC1 desk that Barry thought it > was....I suspect the TC6 30 channel or even the TV Theatre desk (if it > existed then), being re-housed for awhile. > > There are photos of 'Swap Shop' being mixed in TC7, with a Pye in 1974 > and also that great photo from Nick Ware of it TC7, mid-70's also. > > In 1971 Pebble Mill Studio 'A' got a 36 Channel Pye 'refurbished'...so > that'll be TC6's I guess. > > Thanks in advance for your usual help in all things 'BBC sound'. > > David T > > www.postfade.co.uk > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1963-43 channel Pye console in BBC TC1 -Brochure-1-V2-dt.jpg Type: image/jpeg Size: 1362763 bytes Desc: not available URL: From alanaudio at me.com Wed May 5 04:01:30 2021 From: alanaudio at me.com (Alan Taylor) Date: Wed, 5 May 2021 10:01:30 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: I originally mentioned motorised quadrant faders in Sypher 3&4 and speculated that custom built motorised quadrant faders must have been the most expensive faders ever used! I was pretty certain that they were quadrants in 3&4, but I concede that I was wrong in thinking that Sypher 1 had quadrants. I only knew it in its original form before it was re-equipped with an automated desk. There was never any doubt that Sypher 2 had flat motorised faders. Quadrant faders were something of a novelty for me as at OBs, all the trucks from 1970 onwards had flat faders on the sound desks, so I was fascinated to encounter quadrants for real mixing. To be honest, I didn?t notice any real advantage, but they were certainly pleasant to use. Mention of the frequent need to call sound maintenance brings back memories. Their number had only one digit different to my bank card PIN. When I was working in a dubbing suite, during the early part of the block I would find myself accidentally phoning the number of my PIN and speaking to a charming lady who was utterly confused about what I was asking because she worked in art dept. By the time I had been working there for a few days, I would dial the number correctly every time, but when I needed cash, I would accidentally type the sound maintenance number into the ATM and then had three goes at trying to remember the right number before it confiscated my card. Prior to there being a couch for the director to snooze on, in the cupboard in the Foley studio, there was a Fisher Price activity toy for babies. It had all sorts of noise making bells, rattles and clicking sounds. If left near the director?s seat, it could keep people like Philip Saville amused and out of harms way for ages, while I got on with laying tracks etc. I tried to get out different comedy sound effect things from time to time to keep him occupied, but he eventually discovered the cupboard with it?s curious contents, binge-played with the entire contents for a while and then had no further interest in any of them after that. Subsequently to keep him out of harm?s way, I got a prop-buyer friend to lend me incredibly obscure magazines to leave near his position. He would casually pick up a magazine about historic boat restoration, fly fishing in Canada, or self build housing projects and would be engrossed for quite a while while the tedious elements of the dub could be completed in peace. Alan Taylor > On 5 May 2021, at 09:11, Gary Clarke via Tech1 wrote: > > ? > Hi John, good to hear from you. > I'm afraid your memory is misleading you. Sypher 3 and 4 did indeed have quadrant style faders. They were a special design by SSL for the 3000 consoles and caused no end of trouble. I believe they were a Penny and Giles bespoke design. > There were 24 mono faders associated with the A80 24 track tape machine, 8 for the 8 track and 8 stereo faders for FX rerurns. The gram op had 10 stereo faders on his own desk. > I remember being told each suite cost 250K when commissioned. Thus was considerably more than my 3 bed semi cost at the time. > Data was stored on Bernoulli 8 inch floppy drives. Audio file data was stored using a PCM video recorder. > Much time in Sypher was spent waiting for sound maintenance to come and fix the system though some truly great projects were mixed in the suites. > The quadrant faders had massive problems with the motors having to move the fader over a curve. They would frequently burn out. I had one catch fire on my while mixing. This caused no end of jokes about my hot mix. > I have a picture somewhere of the suite in its original design with grams behind an upstand. This was later replaced with a couch for directors to snooze in while the dub progressed. > Gary. > >> On Wed, 5 May 2021, 08:48 John Howell via Tech1, wrote: >> Sorry, I forgot to attach the pictures here they are, >> >> John. >> >> >> >> >> >> >> >> >> >> On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: >>> >>> Second attempt at replying as the file was too big. >>> >>> https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 >>> >>> This is the eng info about Sypher 3 and 4. >>> First and last page. >>> Lo res picture , but clearly quadrant faders >>> >>> >>> Paul Thackray >>> PGT Media Consulting Ltd. >>> +44 7802 243979 >>> Mail; paul at pgtmedia.co.uk >>> Web; http://www.pgtmedia.co.uk >>> Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 >>> IMDB; http://www.imdb.com/name/nm1488554/ >>> >>> From: tech1 at tech-ops.co.uk >>> Sent: 3 May 2021 12:19 >>> To: tech1 at tech-ops.co.uk >>> Reply to: alanaudio at me.com >>> Subject: Re: [Tech1] BBC radio quadrant faders.. >>> >>> Thanks for that. It's a very comprehensive explanation of Sypher 1 and the reasons why it was created. Sypher 1 ( or just Sypher as it was called when there was only one of it ), didn't have any automation at all. It was all down to the operator getting it right. One pitfall was that the multitrack tape took a certain amount of time ( 12 frames ) to travel between the erase head and the record head. If you need to punch into record at a certain point, you needed to actually press the big red button 12 frames earlier than intended so that the erased material has reached the record head at the correct moment. If you punch into record a touch too early, you erase the end of the previous sequence and have to rebuild it all over again. Sod's Law dictates that you only ever chew the end off of a massively complex sequence. >>> >>> Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system where it could remember the operators movements and move the faders in the same manner agin ( synced by timecode ). If you have laid everything on tracks and engaged the automation, you can do a mix, review it and decide that it needs a little tweak. Next time round, all the faders will repeat whatever moves you previously made unless you touch one whereupon it moves under your control, with all the other faders doing what they did before. It was a wonderful system once you got used to it. Nerdy types might be amused to know that the user's fader movements were recorded onto 8" floppy disks - yes eight inch. I've never encountered them in the real world before or since. >>> >>> Syphers 3 & 4 used a different system and my memory is a bit vague about the details. I'm pretty sure it was automated, with motorised quadrant faders, but I can't remember much more than that, despite having spent countless days operating it. >>> >>> Alan Taylor >>> >>> >>>> On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 wrote: >>>> >>>> Hi Alan, >>>> >>>> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>>>> Can any of the people who did Sypher work either confirm or dispel my memory that Syphers 3&4 had motorised quadrant faders? >>>> >>>> Here is John Edon-Eadons paper on Sypher - may answer your question! >>>> >>>> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >>>> >>>> >>>> >>>> Good Ol' Tech Ops! >>>> >>>> -- >>>> ======= >>>> >>>> Alec Bray >>>> >>>> alec.bray.2 at gmail.com >>>> Mob: 07789 561 346 >>>> Tel: 0118 981 7502 >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >>> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From barrybonner119 at btinternet.com Wed May 5 06:32:26 2021 From: barrybonner119 at btinternet.com (Barry Bonner) Date: Wed, 5 May 2021 12:32:26 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: <0FCC78CE-03EB-4BC0-AB0B-F8E6783F9EA9@btinternet.com> It was 1984 and we (me, and Malcolm Johnson I think) had just set it up for the LA Olympics. You can see three faders labelled LA Mix 1, 2, & 3. (My Hanimex camera light meter on the right dates it!!) Barry. On 5 May 2021, at 09:09, David Taylor via Tech1 wrote: > John, > Great photos. What synchroniser was in use in Sypher 1 then John, I can't see a control panel for one? > > When was the TC2 pic do you think? I must ask my Neve contact John Turner about putting Quadrant faders in Neve's....I've never heard of it before. > > David T > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Wed May 5 06:59:58 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Wed, 5 May 2021 12:59:58 +0100 Subject: [Tech1] Kermode's film show In-Reply-To: <89521F30-97C3-4F27-A798-9DF18E1005D5@me.com> References: <4714d835-0a1b-5abd-7435-9ca494abf5e7@gmail.com> <89521F30-97C3-4F27-A798-9DF18E1005D5@me.com> Message-ID: <3487d775-cbbe-8256-0b5e-3154804aa120@gmail.com> On 04/05/2021 21:19, Alan Taylor via Tech1 wrote: > they ended up doing it frame by frame. Rotoscoping on 1" (I think, by then) would not have been much fun. Rotoscoping has been a subject of some discussion in our U3A video production group lately. Someone posted the attached file in the DaVinci Resolve group on Facebook. He was making an ad for women's sports clothes and there was a problem with this shot. He (and then me and my group) tried various things in DVR, in Fusion and in Color, without much success.? I managed a reasonable result in Photoshop, but that isn't a cheap option (unless you bought when in education). Currently we are trying in Open Toonz https://opentoonz.github.io/e/? a free 2d animator, with video add-ons. Your mission, should you decide to accept it, is to get rid of the white bits.? The originator gave up - I don't know what the client thought.? Video attached, just 35 frames. B -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: roto.mp4 Type: video/mp4 Size: 945653 bytes Desc: not available URL: From j at howell61.f9.co.uk Wed May 5 07:24:50 2021 From: j at howell61.f9.co.uk (John Howell) Date: Wed, 5 May 2021 13:24:50 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: Hello Paul &Gary, I stand corrected, quadrants they were, sorry for the misinformation. John. On 05/05/2021 09:11, Gary Clarke wrote: > Hi John, good to hear from you. > I'm afraid your memory is misleading you. Sypher 3 and 4 did indeed > have quadrant style faders. They were a special design by SSL for the > 3000 consoles and caused no end of trouble. I believe they were a > Penny and Giles bespoke design. > There were 24 mono faders associated with the A80 24 track tape > machine, 8 for the 8 track and 8 stereo faders for FX rerurns. The > gram op had 10 stereo faders on his own desk. > I remember being told each suite cost 250K when commissioned. Thus was > considerably more than my 3 bed semi cost at the time. > Data was stored on Bernoulli 8 inch floppy drives. Audio file data was > stored using a PCM video recorder. > Much time in Sypher was spent waiting for sound maintenance to come > and fix the system though some truly great projects were mixed in the > suites. > The quadrant faders had massive problems with the motors having to > move the fader over a curve. They would frequently burn out. I had one > catch fire on my while mixing. This caused no end of jokes about my > hot mix. > I have a picture somewhere of the suite in its original design with > grams behind an upstand. This was later replaced with a couch for > directors to snooze in while the dub progressed. > Gary. > > On Wed, 5 May 2021, 08:48 John Howell via Tech1, > wrote: > > Sorry, I forgot to attach the pictures here they are, > > John. > > > > > > On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: >> >> Second attempt at replying as the file was too big. >> >> https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 >> >> >> This is the eng info about Sypher 3 and 4. >> First and last page. >> Lo res picture , but clearly quadrant faders >> >> >> Paul Thackray >> PGT Media Consulting Ltd. >> +44 7802 243979 >> Mail; paul at pgtmedia.co.uk >> Web; http://www.pgtmedia.co.uk >> Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 >> >> IMDB; http://www.imdb.com/name/nm1488554/ >> >> >> *From:* tech1 at tech-ops.co.uk >> *Sent:* 3 May 2021 12:19 >> *To:* tech1 at tech-ops.co.uk >> *Reply to:* alanaudio at me.com >> *Subject:* Re: [Tech1] BBC radio quadrant faders.. >> >> >> Thanks for that.? It's a very comprehensive explanation of Sypher >> 1 and the reasons why it was created. Sypher 1 ( or just Sypher >> as it was called when there was only one of it ), didn't have any >> automation at all.? It was all down to the operator getting it >> right.? One pitfall was that the multitrack tape took a certain >> amount of time ( 12 frames ) to travel between the erase head and >> the record head. If you need to punch into record at a certain >> point, you needed to actually press the big red button 12 frames >> earlier than intended so that the erased material has reached the >> record head at the correct moment. If you punch into record a >> touch too early, you erase the end of the previous sequence and >> have to rebuild it all over again.? Sod's Law dictates that you >> only ever chew the end off of a massively complex sequence. >> >> Sypher 2 used a Neve 'Flying Faders' Necam automated mixing >> system where it could remember the operators movements and move >> the faders in the same manner agin ( synced by timecode ). If you >> have laid everything on tracks and engaged the automation, you >> can do a mix, review it and decide that it needs a little tweak. >> Next time round, all the faders will repeat whatever moves you >> previously made unless you touch one whereupon it moves under >> your control, with all the other faders doing what they did >> before. It was a wonderful system once you got used to it.? Nerdy >> types might be amused to know that the user's fader movements >> were recorded onto 8" floppy disks - yes eight inch. I've never >> encountered them in the real world before or since. >> >> Syphers 3 & 4 used a different system and my memory is a bit >> vague about the details.? I'm pretty sure it was automated, with >> motorised quadrant faders, but I can't remember much more than >> that, despite having spent countless days operating it. >> >> Alan Taylor >> >> >> On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 >> > wrote: >> >>> Hi Alan, >>> >>> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>>> Can any of the people who did Sypher work either confirm or >>>> dispel my memory that Syphers 3&4 had motorised quadrant faders? >>> >>> >>> Here is John Edon-Eadons paper on Sypher - may answer your question! >>> >>> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >>> >>> >>> >>> Good Ol' Tech Ops! >>> >>> -- >>> ======= >>> >>> Alec Bray >>> >>> alec.bray.2 at gmail.com >>> Mob:07789 561 346 >>> Tel:0118 981 7502 >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >> >> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Wed May 5 07:25:57 2021 From: alanaudio at me.com (Alan Taylor) Date: Wed, 5 May 2021 13:25:57 +0100 Subject: [Tech1] Kermode's film show In-Reply-To: <3487d775-cbbe-8256-0b5e-3154804aa120@gmail.com> References: <4714d835-0a1b-5abd-7435-9ca494abf5e7@gmail.com> <89521F30-97C3-4F27-A798-9DF18E1005D5@me.com> <3487d775-cbbe-8256-0b5e-3154804aa120@gmail.com> Message-ID: Yes, I think Rotoscoping was the term they used and yes, it was a 1" VT in 1986. The PA told me that the VT editor used some sort of newly available VT controller where the editor could run what sounded to me like a macro. The PA would move, resize and rotate the soft edge shadow and then it would roll back and drop into record before resetting to show the next frame. Vastly quicker than otherwise, but still painfully slow. Alan Taylor On 5 May 2021, at 5 May . 12:59, Bernard Newnham via Tech1 wrote: > On 04/05/2021 21:19, Alan Taylor via Tech1 wrote: >> they ended up doing it frame by frame. > > > > Rotoscoping on 1" (I think, by then) would not have been much fun. > > Rotoscoping has been a subject of some discussion in our U3A video production group lately. Someone posted the attached file in the DaVinci Resolve group on Facebook. He was making an ad for women's sports clothes and there was a problem with this shot. He (and then me and my group) tried various things in DVR, in Fusion and in Color, without much success. I managed a reasonable result in Photoshop, but that isn't a cheap option (unless you bought when in education). Currently we are trying in Open Toonz https://opentoonz.github.io/e/ a free 2d animator, with video add-ons. > > Your mission, should you decide to accept it, is to get rid of the white bits. The originator gave up - I don't know what the client thought. Video attached, just 35 frames. > > B > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From chris at chriswoolf.co.uk Wed May 5 08:31:11 2021 From: chris at chriswoolf.co.uk (Chris Woolf) Date: Wed, 5 May 2021 14:31:11 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> The desire for quadrant faders, and the BBC's insistence on using them when linear ones had largely taken over is quite a subject in its own right - a bit like the fierce squabbles over VUs and PPMs. The early rotary stud fader was essentially a necessity, since producing logarithmic pots couldn't easily be produced using wire wound controls. Although ex-radio people swear by them they are massively wasteful of panel space, and can only be used two at a time. As soon as multichannel desks needed to put lots of faders on a sensible sized panel, things had to change. Putting a stud fader on its side (in effect) allowed more compact desks to be made. However as soon as conductive plastic tracks could be used, the massive complication of the quadrant design - the long lever, the space for many tens of discrete resistors, the multiple spring contacts etc - became unnecessary. The linear fader, with its simplicity, lower price, and above all, its shallow depth (allowing much slimmer desks) meant that every desk manufacturer took them up very quickly. Yes, quadrant faders could be made with conductive plastic tracks, but there was precious little point from a technical point of view. Only organisations such as the BBC felt the need to continue the demand for quadrant designs, largely, I'd guess, because these expensive items felt more substantial than the linear versions. However the much lighter mechanism of linear faders makes them far more suitable for motorised designs. I'm amused at the Sypher history, demanding quadrants to replace linears, and then finding that it was a completely pointless exercise. How many other dead ends did Auntie travel down over the years? Answer lists under 10Mbs only, please;} Chris Woolf -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus From paul at pgtmedia.co.uk Wed May 5 08:43:46 2021 From: paul at pgtmedia.co.uk (paul at pgtmedia.co.uk) Date: Wed, 5 May 2021 14:43:46 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> Message-ID: <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> Hi Chris, The biggest dead end has to be the DMI project. Only a few bytes to describe, but ?100 million wasted (That is admitted, so assume quite a bit more!) Paul Thackray PGT Media Consulting Ltd. 07802 243979 Mail; paul at pgtmedia.co.uk Web; http://www.pgtmedia.co.uk Linkedin;?? http://uk.linkedin.com/pub/paul-thackray/19/379/746 IMDB; http://www.imdb.com/name/nm1488554/ -----Original Message----- From: Tech1 On Behalf Of Chris Woolf via Tech1 Sent: 05 May 2021 14:31 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] BBC radio quadrant faders.. The desire for quadrant faders, and the BBC's insistence on using them when linear ones had largely taken over is quite a subject in its own right - a bit like the fierce squabbles over VUs and PPMs. The early rotary stud fader was essentially a necessity, since producing logarithmic pots couldn't easily be produced using wire wound controls. Although ex-radio people swear by them they are massively wasteful of panel space, and can only be used two at a time. As soon as multichannel desks needed to put lots of faders on a sensible sized panel, things had to change. Putting a stud fader on its side (in effect) allowed more compact desks to be made. However as soon as conductive plastic tracks could be used, the massive complication of the quadrant design - the long lever, the space for many tens of discrete resistors, the multiple spring contacts etc - became unnecessary. The linear fader, with its simplicity, lower price, and above all, its shallow depth (allowing much slimmer desks) meant that every desk manufacturer took them up very quickly. Yes, quadrant faders could be made with conductive plastic tracks, but there was precious little point from a technical point of view. Only organisations such as the BBC felt the need to continue the demand for quadrant designs, largely, I'd guess, because these expensive items felt more substantial than the linear versions. However the much lighter mechanism of linear faders makes them far more suitable for motorised designs. I'm amused at the Sypher history, demanding quadrants to replace linears, and then finding that it was a completely pointless exercise. How many other dead ends did Auntie travel down over the years? Answer lists under 10Mbs only, please;} Chris Woolf -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From davesound at btinternet.com Wed May 5 08:43:57 2021 From: davesound at btinternet.com (Dave Plowman) Date: Wed, 05 May 2021 14:43:57 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> Message-ID: <5927e059a4davesound@btinternet.com> In article , David Taylor via Tech1 wrote: > Great photos. What synchroniser was in use in Sypher 1 then John, I can't > see a control panel for one? Fairly certain it used the Studer TLS (tape lock system) even although the multi-track wasn't Studer? I got quite familiar with that after moving to Thames, as the sound department did layoffs and laybacks using one of the dubbing suites - rather than a duplicate system in VT. > When was the TC2 pic do you think? I must ask my Neve contact John Turner > about putting Quadrant faders in Neve's....I've never heard of it before. -- Dave Plowman dave at davesound.co.uk London SW 12 From davesound at btinternet.com Wed May 5 09:47:23 2021 From: davesound at btinternet.com (Dave Plowman) Date: Wed, 05 May 2021 15:47:23 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> Message-ID: <5927e6283edavesound@btinternet.com> In article <5d591501-17f7-3682-b3dc-3148beabb784 at chriswoolf.co.uk>, Chris Woolf via Tech1 wrote: > However as soon as conductive plastic tracks could be used, the massive > complication of the quadrant design - the long lever, the space for many > tens of discrete resistors, the multiple spring contacts etc - became > unnecessary. The linear fader, with its simplicity, lower price, and > above all, its shallow depth (allowing much slimmer desks) meant that > every desk manufacturer took them up very quickly. Yes, quadrant faders > could be made with conductive plastic tracks, but there was precious > little point from a technical point of view. > Only organisations such as the BBC felt the need to continue the demand > for quadrant designs, largely, I'd guess, because these expensive items > felt more substantial than the linear versions. However the much lighter > mechanism of linear faders makes them far more suitable for motorised > designs. I'm amused at the Sypher history, demanding quadrants to > replace linears, and then finding that it was a completely pointless > exercise. Linear faders are just fine for music recording or indeed dubbing where you are generally just adjusting levels. Or of course where some form of automation can be used. On a fast moving live current affairs type prog, quadrants are much easier to juggle several at once. -- Dave Plowman dave at davesound.co.uk London SW 12 From alanaudio at me.com Wed May 5 10:26:50 2021 From: alanaudio at me.com (Alan Taylor) Date: Wed, 5 May 2021 16:26:50 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> References: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> Message-ID: As far as technological dead ends were concerned, we had a few on outside broadcasts. I previously mentioned the BBC radio talkback system from around 1970. It radiated on Band I and killed 405 line BBC reception in houses close to the scanner. The portable units used unusual batteries and were flawed anyway. Eventually they were ripped out and replaced by Stornos. Even worse was the digital automatic telephone system installed on Type V scanners, known by crews as the Batphone. It was another in-house design which would have been great if it worked, but turned out to be hopeless in the field. Eventually they were ripped out and replaced by commercial systems. I once did a job on a new Royal Navy cruiser. They were very proud of their new ship and in the officer?s mess I asked if they encountered teething problems in the same way that we did. They responded with lots of brilliant stories ranging from the hilarious, through the absurd and to the tragic. In our business, when we screw up, a programme goes off the air, or a presenter ends up looking silly when stuff goes wrong. With the military, slinging around high explosives at high speed over immense ranges has more devastating consequences if things go wrong. It wouldn?t be appropriate to go into too much detail on a semi-public forum like this. One amazing BBC device which I remember seeing in tech stores and examining it with interest was a camera mount for use in velodromes. The problem needing solving was that in order to follow the action, a camera in the middle needs to keep going round and round in circles. Unfortunately the camera cable gets wound up after a few turns. Mechanical workshops built a massive device with huge enclosed steel drums and a camera mount on top. There were hundreds of feet of G101 ( or maybe Mk IV ) camera cable and a system for feeding off one drum and onto another, permitting the camera to keep rotating for dozens of turns. There was a neat little gauge showing how many turns had been made, with a big red mark warning when to stop. After the race, if the device had done twenty turns during the race, it needed to do twenty turns the opposite way to rewind the cable ready for the next race. This device weighed an absurd amount and must have cost an absolute fortune to build. When LDK5 cameras appeared with triax camera cables, this device was made totally redundant when somebody had the bright idea of building a panning head with a coaxial connector mounted vertically, so that the connector can be rotated an infinite number of turns with no need to ?rewind?. The crucial rotating connector which made this possible was just a high quality MUSA plug as used on vision patch panels. It cost peanuts. Alan Taylor > On 5 May 2021, at 14:32, Chris Woolf via Tech1 wrote: > > ?The desire for quadrant faders, and the BBC's insistence on using them when linear ones had largely taken over is quite a subject in its own right - a bit like the fierce squabbles over VUs and PPMs. > > The early rotary stud fader was essentially a necessity, since producing logarithmic pots couldn't easily be produced using wire wound controls. Although ex-radio people swear by them they are massively wasteful of panel space, and can only be used two at a time. As soon as multichannel desks needed to put lots of faders on a sensible sized panel, things had to change. Putting a stud fader on its side (in effect) allowed more compact desks to be made. > > However as soon as conductive plastic tracks could be used, the massive complication of the quadrant design - the long lever, the space for many tens of discrete resistors, the multiple spring contacts etc - became unnecessary. The linear fader, with its simplicity, lower price, and above all, its shallow depth (allowing much slimmer desks) meant that every desk manufacturer took them up very quickly. Yes, quadrant faders could be made with conductive plastic tracks, but there was precious little point from a technical point of view. > > Only organisations such as the BBC felt the need to continue the demand for quadrant designs, largely, I'd guess, because these expensive items felt more substantial than the linear versions. However the much lighter mechanism of linear faders makes them far more suitable for motorised designs. I'm amused at the Sypher history, demanding quadrants to replace linears, and then finding that it was a completely pointless exercise. > > How many other dead ends did Auntie travel down over the years? Answer lists under 10Mbs only, please;} > > > Chris Woolf > > > > > -- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From relong at btinternet.com Wed May 5 10:54:37 2021 From: relong at btinternet.com (Roger Long) Date: Wed, 5 May 2021 16:54:37 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: Neopilot ,Kudelskis brilliant central sync system for film synchronisation was ignored by ED for many years. They preferred their twin track system and many Nagra iii s were butchered by P&ID. So much so that Nagra stopped providing machines to Film Unit. Common sense prevailed when TFS complained and Neopilot was excepted in the mid 60s. Roger Sent from my iPhone > On 5 May 2021, at 16:27, Alan Taylor via Tech1 wrote: > > ?As far as technological dead ends were concerned, we had a few on outside broadcasts. I previously mentioned the BBC radio talkback system from around 1970. It radiated on Band I and killed 405 line BBC reception in houses close to the scanner. The portable units used unusual batteries and were flawed anyway. Eventually they were ripped out and replaced by Stornos. > > Even worse was the digital automatic telephone system installed on Type V scanners, known by crews as the Batphone. It was another in-house design which would have been great if it worked, but turned out to be hopeless in the field. Eventually they were ripped out and replaced by commercial systems. > > I once did a job on a new Royal Navy cruiser. They were very proud of their new ship and in the officer?s mess I asked if they encountered teething problems in the same way that we did. They responded with lots of brilliant stories ranging from the hilarious, through the absurd and to the tragic. In our business, when we screw up, a programme goes off the air, or a presenter ends up looking silly when stuff goes wrong. With the military, slinging around high explosives at high speed over immense ranges has more devastating consequences if things go wrong. It wouldn?t be appropriate to go into too much detail on a semi-public forum like this. > > One amazing BBC device which I remember seeing in tech stores and examining it with interest was a camera mount for use in velodromes. The problem needing solving was that in order to follow the action, a camera in the middle needs to keep going round and round in circles. Unfortunately the camera cable gets wound up after a few turns. Mechanical workshops built a massive device with huge enclosed steel drums and a camera mount on top. There were hundreds of feet of G101 ( or maybe Mk IV ) camera cable and a system for feeding off one drum and onto another, permitting the camera to keep rotating for dozens of turns. There was a neat little gauge showing how many turns had been made, with a big red mark warning when to stop. After the race, if the device had done twenty turns during the race, it needed to do twenty turns the opposite way to rewind the cable ready for the next race. > > This device weighed an absurd amount and must have cost an absolute fortune to build. When LDK5 cameras appeared with triax camera cables, this device was made totally redundant when somebody had the bright idea of building a panning head with a coaxial connector mounted vertically, so that the connector can be rotated an infinite number of turns with no need to ?rewind?. The crucial rotating connector which made this possible was just a high quality MUSA plug as used on vision patch panels. It cost peanuts. > > Alan Taylor > > >> On 5 May 2021, at 14:32, Chris Woolf via Tech1 wrote: >> >> ?The desire for quadrant faders, and the BBC's insistence on using them when linear ones had largely taken over is quite a subject in its own right - a bit like the fierce squabbles over VUs and PPMs. >> >> The early rotary stud fader was essentially a necessity, since producing logarithmic pots couldn't easily be produced using wire wound controls. Although ex-radio people swear by them they are massively wasteful of panel space, and can only be used two at a time. As soon as multichannel desks needed to put lots of faders on a sensible sized panel, things had to change. Putting a stud fader on its side (in effect) allowed more compact desks to be made. >> >> However as soon as conductive plastic tracks could be used, the massive complication of the quadrant design - the long lever, the space for many tens of discrete resistors, the multiple spring contacts etc - became unnecessary. The linear fader, with its simplicity, lower price, and above all, its shallow depth (allowing much slimmer desks) meant that every desk manufacturer took them up very quickly. Yes, quadrant faders could be made with conductive plastic tracks, but there was precious little point from a technical point of view. >> >> Only organisations such as the BBC felt the need to continue the demand for quadrant designs, largely, I'd guess, because these expensive items felt more substantial than the linear versions. However the much lighter mechanism of linear faders makes them far more suitable for motorised designs. I'm amused at the Sypher history, demanding quadrants to replace linears, and then finding that it was a completely pointless exercise. >> >> How many other dead ends did Auntie travel down over the years? Answer lists under 10Mbs only, please;} >> >> >> Chris Woolf >> >> >> >> >> -- >> This email has been checked for viruses by Avast antivirus software. >> https://www.avast.com/antivirus >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From waresound at msn.com Wed May 5 11:29:32 2021 From: waresound at msn.com (Nick Ware) Date: Wed, 5 May 2021 16:29:32 +0000 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <5927e6283edavesound@btinternet.com> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk>, <5927e6283edavesound@btinternet.com> Message-ID: I?m sure what Dave means by linear faders is ?flat faders?. Flat faders aren?t linear, but have a tapered log ?law?. A significant advantage that they have is that one fader can have as many layers as you like, and can be ganged or layered in software. And of course, instant ?scene? recall. I don?t think you could do any of that on an old fashioned Quadrant fader. I?ve watched this topic with interest, but honestly, I think some things are best left in the past. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 > On 5 May 2021, at 15:51, Dave Plowman via Tech1 wrote: > > ?In article <5d591501-17f7-3682-b3dc-3148beabb784 at chriswoolf.co.uk>, > Chris Woolf via Tech1 wrote: >> However as soon as conductive plastic tracks could be used, the massive >> complication of the quadrant design - the long lever, the space for many >> tens of discrete resistors, the multiple spring contacts etc - became >> unnecessary. The linear fader, with its simplicity, lower price, and >> above all, its shallow depth (allowing much slimmer desks) meant that >> every desk manufacturer took them up very quickly. Yes, quadrant faders >> could be made with conductive plastic tracks, but there was precious >> little point from a technical point of view. > >> Only organisations such as the BBC felt the need to continue the demand >> for quadrant designs, largely, I'd guess, because these expensive items >> felt more substantial than the linear versions. However the much lighter >> mechanism of linear faders makes them far more suitable for motorised >> designs. I'm amused at the Sypher history, demanding quadrants to >> replace linears, and then finding that it was a completely pointless >> exercise. > > Linear faders are just fine for music recording or indeed dubbing where > you are generally just adjusting levels. Or of course where some form of > automation can be used. > > On a fast moving live current affairs type prog, quadrants are much easier > to juggle several at once. > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From davesound at btinternet.com Wed May 5 12:18:28 2021 From: davesound at btinternet.com (Dave Plowman) Date: Wed, 05 May 2021 18:18:28 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> <5927e6283edavesound@btinternet.com> Message-ID: <5927f3fcdfdavesound@btinternet.com> I doubt any audio fader is linear in an electronics sense. Unless of course controlling a VCA, etc. I'd guess you could produce a linear or flat fader with studs too - in the same way as they can be rotary. But how the faders work electronically is a bit irrelevant from an operational point of view - in the same way as whether they are up for up or reversed. Indeed on some Neve desks with 'flat' faders, you could simply turn them round if you wanted BBC or commercial direction of travel. In article , Nick Ware via Tech1 wrote: > I?m sure what Dave means by linear faders is ?flat faders?. Flat faders aren?t linear, but have a tapered log ?law?. A significant advantage that they have is that one fader can have as many layers as you like, and can be ganged or layered in software. And of course, instant ?scene? recall. I don?t think you could do any of that on an old fashioned Quadrant fader. > I?ve watched this topic with interest, but honestly, I think some things are best left in the past. > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > > On 5 May 2021, at 15:51, Dave Plowman via Tech1 wrote: > > > > #In article <5d591501-17f7-3682-b3dc-3148beabb784 at chriswoolf.co.uk>, > > Chris Woolf via Tech1 wrote: > >> However as soon as conductive plastic tracks could be used, the massive > >> complication of the quadrant design - the long lever, the space for many > >> tens of discrete resistors, the multiple spring contacts etc - became > >> unnecessary. The linear fader, with its simplicity, lower price, and > >> above all, its shallow depth (allowing much slimmer desks) meant that > >> every desk manufacturer took them up very quickly. Yes, quadrant faders > >> could be made with conductive plastic tracks, but there was precious > >> little point from a technical point of view. > > > >> Only organisations such as the BBC felt the need to continue the demand > >> for quadrant designs, largely, I'd guess, because these expensive items > >> felt more substantial than the linear versions. However the much lighter > >> mechanism of linear faders makes them far more suitable for motorised > >> designs. I'm amused at the Sypher history, demanding quadrants to > >> replace linears, and then finding that it was a completely pointless > >> exercise. > > > > Linear faders are just fine for music recording or indeed dubbing where > > you are generally just adjusting levels. Or of course where some form of > > automation can be used. > > > > On a fast moving live current affairs type prog, quadrants are much easier > > to juggle several at once. > > > > -- > > Dave Plowman dave at davesound.co.uk London SW 12 > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list -- Dave Plowman dave at davesound.co.uk London SW 12 From david at davidtaylorsound.co.uk Wed May 5 13:01:28 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Wed, 5 May 2021 19:01:28 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> Message-ID: As a outsider from the BBC, I'm with Chris on this....the quadrant 'curved top' design only appeared because it was the easiest way to update the need for a constant impedance balanced stepped ladder attenuator, and it was unnecessary once the concept of Lo-Z feeding into a Hi-Z input became standardised, so that faders could be flat tracks quite easily. The Pye desks and others had the narrow quadrant faders bunched together, so I guess they worked well with the need to 'juggle' with a hand-full of faders on a 4, 5 or 6 hander chat show ... but once the concept of a fader 'lined up' with the channel controls on a 'module' (thank you to Rupert Neve) became the accepted way, then only making the channel width narrower brought them closer together. And of course the BBC did if fact get Neve to make a narrower module. By the way, here's the inside of a 'narrow' Painton: [image: Painton-Quadrant-fader-EMI-TG-BBC-PYE.jpg] In US they went on building constant impedance faders, now flat. Here's one by Daven, built a few years later. Rather fewer steps than the Painton I note- 2dB in fact.: [image: Daven stepped ladder attenuator.jpg] D T On Wed, 5 May 2021 at 14:32, Chris Woolf via Tech1 wrote: > The desire for quadrant faders, and the BBC's insistence on using them > when linear ones had largely taken over is quite a subject in its own > right - a bit like the fierce squabbles over VUs and PPMs. > > The early rotary stud fader was essentially a necessity, since producing > logarithmic pots couldn't easily be produced using wire wound controls. > Although ex-radio people swear by them they are massively wasteful of > panel space, and can only be used two at a time. As soon as multichannel > desks needed to put lots of faders on a sensible sized panel, things had > to change. Putting a stud fader on its side (in effect) allowed more > compact desks to be made. > > However as soon as conductive plastic tracks could be used, the massive > complication of the quadrant design - the long lever, the space for many > tens of discrete resistors, the multiple spring contacts etc - became > unnecessary. The linear fader, with its simplicity, lower price, and > above all, its shallow depth (allowing much slimmer desks) meant that > every desk manufacturer took them up very quickly. Yes, quadrant faders > could be made with conductive plastic tracks, but there was precious > little point from a technical point of view. > > Only organisations such as the BBC felt the need to continue the demand > for quadrant designs, largely, I'd guess, because these expensive items > felt more substantial than the linear versions. However the much lighter > mechanism of linear faders makes them far more suitable for motorised > designs. I'm amused at the Sypher history, demanding quadrants to > replace linears, and then finding that it was a completely pointless > exercise. > > How many other dead ends did Auntie travel down over the years? Answer > lists under 10Mbs only, please;} > > > Chris Woolf > > > > > -- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Daven stepped ladder attenuator.jpg Type: image/jpeg Size: 342604 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Painton-Quadrant-fader-EMI-TG-BBC-PYE.jpg Type: image/jpeg Size: 23396 bytes Desc: not available URL: From mibridge at mac.com Wed May 5 13:45:48 2021 From: mibridge at mac.com (Mike Giles) Date: Wed, 5 May 2021 19:45:48 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> Message-ID: Steve Jagger from Calrec once complained that they had slimmed their channel modules to the optimum, because TV OBs, in particular, needed to fit a lot of faders into a narrow space, but were then receiving comments from other BBC operators that the spacing was too tight to allow for adequate channel labelling! Just goes to show that you can please some of the people some of the time, but you can?t please all of the people all of the time! I confess to having been strongly in favour of quadrant faders for the ease of mixing multiple sources one handed, but once narrower module flat faders moved in, I found no difficulty and joined the flat earth, I mean fader, society. But I never joined the backwards society, nor the M6 brigade, but that?s another thread. Mike G > On 5 May 2021, at 19:01, David Taylor via Tech1 wrote: > > As a outsider from the BBC, I'm with Chris on this....the quadrant 'curved top' design only appeared because it was the easiest way to update the need for a constant impedance balanced stepped ladder attenuator, and it was unnecessary once the concept of Lo-Z feeding into a Hi-Z input became standardised, so that faders could be flat tracks quite easily. > The Pye desks and others had the narrow quadrant faders bunched together, so I guess they worked well with the need to 'juggle' with a hand-full of faders on a 4, 5 or 6 hander chat show ... but once the concept of a fader 'lined up' with the channel controls on a 'module' (thank you to Rupert Neve) became the accepted way, then only making the channel width narrower brought them closer together. And of course the BBC did if fact get Neve to make a narrower module. > By the way, here's the inside of a 'narrow' Painton: > > In US they went on building constant impedance faders, now flat. Here's one by Daven, built a few years later. Rather fewer steps than the Painton I note- 2dB in fact.: > > > D T > > > On Wed, 5 May 2021 at 14:32, Chris Woolf via Tech1 > wrote: > The desire for quadrant faders, and the BBC's insistence on using them > when linear ones had largely taken over is quite a subject in its own > right - a bit like the fierce squabbles over VUs and PPMs. > > The early rotary stud fader was essentially a necessity, since producing > logarithmic pots couldn't easily be produced using wire wound controls. > Although ex-radio people swear by them they are massively wasteful of > panel space, and can only be used two at a time. As soon as multichannel > desks needed to put lots of faders on a sensible sized panel, things had > to change. Putting a stud fader on its side (in effect) allowed more > compact desks to be made. > > However as soon as conductive plastic tracks could be used, the massive > complication of the quadrant design - the long lever, the space for many > tens of discrete resistors, the multiple spring contacts etc - became > unnecessary. The linear fader, with its simplicity, lower price, and > above all, its shallow depth (allowing much slimmer desks) meant that > every desk manufacturer took them up very quickly. Yes, quadrant faders > could be made with conductive plastic tracks, but there was precious > little point from a technical point of view. > > Only organisations such as the BBC felt the need to continue the demand > for quadrant designs, largely, I'd guess, because these expensive items > felt more substantial than the linear versions. However the much lighter > mechanism of linear faders makes them far more suitable for motorised > designs. I'm amused at the Sypher history, demanding quadrants to > replace linears, and then finding that it was a completely pointless > exercise. > > How many other dead ends did Auntie travel down over the years? Answer > lists under 10Mbs only, please;} > > > Chris Woolf > > > > > -- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Wed May 5 14:24:19 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Wed, 5 May 2021 20:24:19 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> Message-ID: DMI project? On 05/05/2021 14:43, paul--- via Tech1 wrote: > Hi Chris, > The biggest dead end has to be the DMI project. Only a few bytes to > describe, but ?100 million wasted (That is admitted, so assume quite a bit > more!) > > Paul Thackray > PGT Media Consulting Ltd. > 07802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin;?? http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > > -----Original Message----- > From: Tech1 On Behalf Of Chris Woolf via > Tech1 > Sent: 05 May 2021 14:31 > To: tech1 at tech-ops.co.uk > Subject: Re: [Tech1] BBC radio quadrant faders.. > > The desire for quadrant faders, and the BBC's insistence on using them when > linear ones had largely taken over is quite a subject in its own right - a > bit like the fierce squabbles over VUs and PPMs. > > The early rotary stud fader was essentially a necessity, since producing > logarithmic pots couldn't easily be produced using wire wound controls. > Although ex-radio people swear by them they are massively wasteful of panel > space, and can only be used two at a time. As soon as multichannel desks > needed to put lots of faders on a sensible sized panel, things had to > change. Putting a stud fader on its side (in effect) allowed more compact > desks to be made. > > However as soon as conductive plastic tracks could be used, the massive > complication of the quadrant design - the long lever, the space for many > tens of discrete resistors, the multiple spring contacts etc - became > unnecessary. The linear fader, with its simplicity, lower price, and above > all, its shallow depth (allowing much slimmer desks) meant that every desk > manufacturer took them up very quickly. Yes, quadrant faders could be made > with conductive plastic tracks, but there was precious little point from a > technical point of view. > > Only organisations such as the BBC felt the need to continue the demand for > quadrant designs, largely, I'd guess, because these expensive items felt > more substantial than the linear versions. However the much lighter > mechanism of linear faders makes them far more suitable for motorised > designs. I'm amused at the Sypher history, demanding quadrants to replace > linears, and then finding that it was a completely pointless exercise. > > How many other dead ends did Auntie travel down over the years? Answer lists > under 10Mbs only, please;} > > > Chris Woolf > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Wed May 5 14:24:34 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Wed, 5 May 2021 20:24:34 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> Message-ID: <812bdfa5-030d-9ef2-f368-7cd0d44ff6f0@gmail.com> DMI project? On 05/05/2021 14:43, paul--- via Tech1 wrote: > Hi Chris, > The biggest dead end has to be the DMI project. Only a few bytes to > describe, but ?100 million wasted (That is admitted, so assume quite a bit > more!) > > Paul Thackray > PGT Media Consulting Ltd. > 07802 243979 > Mail;paul at pgtmedia.co.uk > Web;http://www.pgtmedia.co.uk > Linkedin;http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB;http://www.imdb.com/name/nm1488554/ > > -----Original Message----- > From: Tech1 On Behalf Of Chris Woolf via > Tech1 > Sent: 05 May 2021 14:31 > To:tech1 at tech-ops.co.uk > Subject: Re: [Tech1] BBC radio quadrant faders.. > > The desire for quadrant faders, and the BBC's insistence on using them when > linear ones had largely taken over is quite a subject in its own right - a > bit like the fierce squabbles over VUs and PPMs. > > The early rotary stud fader was essentially a necessity, since producing > logarithmic pots couldn't easily be produced using wire wound controls. > Although ex-radio people swear by them they are massively wasteful of panel > space, and can only be used two at a time. As soon as multichannel desks > needed to put lots of faders on a sensible sized panel, things had to > change. Putting a stud fader on its side (in effect) allowed more compact > desks to be made. > > However as soon as conductive plastic tracks could be used, the massive > complication of the quadrant design - the long lever, the space for many > tens of discrete resistors, the multiple spring contacts etc - became > unnecessary. The linear fader, with its simplicity, lower price, and above > all, its shallow depth (allowing much slimmer desks) meant that every desk > manufacturer took them up very quickly. Yes, quadrant faders could be made > with conductive plastic tracks, but there was precious little point from a > technical point of view. > > Only organisations such as the BBC felt the need to continue the demand for > quadrant designs, largely, I'd guess, because these expensive items felt > more substantial than the linear versions. However the much lighter > mechanism of linear faders makes them far more suitable for motorised > designs. I'm amused at the Sypher history, demanding quadrants to replace > linears, and then finding that it was a completely pointless exercise. > > How many other dead ends did Auntie travel down over the years? Answer lists > under 10Mbs only, please;} > > > Chris Woolf > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From philiptyler at me.com Wed May 5 14:48:13 2021 From: philiptyler at me.com (Philip Tyler) Date: Wed, 5 May 2021 20:48:13 +0100 Subject: [Tech1] DMI Message-ID: <85A91D24-F8BA-46E1-AED7-572FB63B511C@me.com> https://www.google.co.uk/amp/s/www.computerweekly.com/news/2240213773/The-BBC-DMI-project-what-went-wrong%3famp=1 Philip -------------- next part -------------- An HTML attachment was scrubbed... URL: From paul at pgtmedia.co.uk Wed May 5 14:55:51 2021 From: paul at pgtmedia.co.uk (Paul Thackray) Date: Wed, 05 May 2021 20:55:51 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: <812bdfa5-030d-9ef2-f368-7cd0d44ff6f0@gmail.com> Message-ID: An HTML attachment was scrubbed... URL: From alanaudio at me.com Wed May 5 15:06:45 2021 From: alanaudio at me.com (Alan Taylor) Date: Wed, 5 May 2021 21:06:45 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: You mentioned channel labels. One of the things I really liked with the BBC way up for faders is when the labelling strip is between the faders and the rest of the channel strip, such as on the Neve desks in type V scanners. In OB vans, the air conditioning is usually less than wonderful and I often get sweaty palms when mixing in hot weather. If the channel labels are at the bottom of the fader, nearest me, my sweaty palms tend to make the labels run, even when using Sharpie permanent markers. Channel designation strips above the faders neatly solves this problem. To be fair, digital labels on the channel strip also solve that problem, but it?s a more expensive solution and you still can?t write much in the space allowed, nor is there usually any way to draw graphics on electronic labels, such as pitch layouts for football Fx mics. I liked to use ultra-fine marking pens and could easily get three rows of labelling on standard camera tape, or draw simple diagrams. Alan Taylor > On 5 May 2021, at 19:46, Mike Giles via Tech1 wrote: > > ?Steve Jagger from Calrec once complained that they had slimmed their channel modules to the optimum, because TV OBs, in particular, needed to fit a lot of faders into a narrow space, but were then receiving comments from other BBC operators that the spacing was too tight to allow for adequate channel labelling! Just goes to show that you can please some of the people some of the time, but you can?t please all of the people all of the time! > > I confess to having been strongly in favour of quadrant faders for the ease of mixing multiple sources one handed, but once narrower module flat faders moved in, I found no difficulty and joined the flat earth, I mean fader, society. But I never joined the backwards society, nor the M6 brigade, but that?s another thread. > > Mike G > >> On 5 May 2021, at 19:01, David Taylor via Tech1 wrote: >> >> As a outsider from the BBC, I'm with Chris on this....the quadrant 'curved top' design only appeared because it was the easiest way to update the need for a constant impedance balanced stepped ladder attenuator, and it was unnecessary once the concept of Lo-Z feeding into a Hi-Z input became standardised, so that faders could be flat tracks quite easily. >> The Pye desks and others had the narrow quadrant faders bunched together, so I guess they worked well with the need to 'juggle' with a hand-full of faders on a 4, 5 or 6 hander chat show ... but once the concept of a fader 'lined up' with the channel controls on a 'module' (thank you to Rupert Neve) became the accepted way, then only making the channel width narrower brought them closer together. And of course the BBC did if fact get Neve to make a narrower module. >> By the way, here's the inside of a 'narrow' Painton: >> >> In US they went on building constant impedance faders, now flat. Here's one by Daven, built a few years later. Rather fewer steps than the Painton I note- 2dB in fact.: >> >> >> D T >> >> >> On Wed, 5 May 2021 at 14:32, Chris Woolf via Tech1 wrote: >>> The desire for quadrant faders, and the BBC's insistence on using them >>> when linear ones had largely taken over is quite a subject in its own >>> right - a bit like the fierce squabbles over VUs and PPMs. >>> >>> The early rotary stud fader was essentially a necessity, since producing >>> logarithmic pots couldn't easily be produced using wire wound controls. >>> Although ex-radio people swear by them they are massively wasteful of >>> panel space, and can only be used two at a time. As soon as multichannel >>> desks needed to put lots of faders on a sensible sized panel, things had >>> to change. Putting a stud fader on its side (in effect) allowed more >>> compact desks to be made. >>> >>> However as soon as conductive plastic tracks could be used, the massive >>> complication of the quadrant design - the long lever, the space for many >>> tens of discrete resistors, the multiple spring contacts etc - became >>> unnecessary. The linear fader, with its simplicity, lower price, and >>> above all, its shallow depth (allowing much slimmer desks) meant that >>> every desk manufacturer took them up very quickly. Yes, quadrant faders >>> could be made with conductive plastic tracks, but there was precious >>> little point from a technical point of view. >>> >>> Only organisations such as the BBC felt the need to continue the demand >>> for quadrant designs, largely, I'd guess, because these expensive items >>> felt more substantial than the linear versions. However the much lighter >>> mechanism of linear faders makes them far more suitable for motorised >>> designs. I'm amused at the Sypher history, demanding quadrants to >>> replace linears, and then finding that it was a completely pointless >>> exercise. >>> >>> How many other dead ends did Auntie travel down over the years? Answer >>> lists under 10Mbs only, please;} >>> >>> >>> Chris Woolf >>> >>> >>> >>> >>> -- >>> This email has been checked for viruses by Avast antivirus software. >>> https://www.avast.com/antivirus >>> >>> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Wed May 5 15:15:27 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Wed, 5 May 2021 21:15:27 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: When post production dubbing on the Starwars movies the used the Darth fader of course. Geoff F On Wed, 5 May 2021 at 21:07, Alan Taylor via Tech1 wrote: > You mentioned channel labels. One of the things I really liked with the > BBC way up for faders is when the labelling strip is between the faders and > the rest of the channel strip, such as on the Neve desks in type V scanners. > > In OB vans, the air conditioning is usually less than wonderful and I > often get sweaty palms when mixing in hot weather. If the channel labels > are at the bottom of the fader, nearest me, my sweaty palms tend to make > the labels run, even when using Sharpie permanent markers. Channel > designation strips above the faders neatly solves this problem. > > To be fair, digital labels on the channel strip also solve that problem, > but it?s a more expensive solution and you still can?t write much in the > space allowed, nor is there usually any way to draw graphics on electronic > labels, such as pitch layouts for football Fx mics. I liked to use > ultra-fine marking pens and could easily get three rows of labelling on > standard camera tape, or draw simple diagrams. > > Alan Taylor > > On 5 May 2021, at 19:46, Mike Giles via Tech1 > wrote: > > ?Steve Jagger from Calrec once complained that they had slimmed their > channel modules to the optimum, because TV OBs, in particular, needed to > fit a lot of faders into a narrow space, but were then receiving comments > from other BBC operators that the spacing was too tight to allow for > adequate channel labelling! Just goes to show that you can please some of > the people some of the time, but you can?t please all of the people all of > the time! > > > I confess to having been strongly in favour of quadrant faders for the > ease of mixing multiple sources one handed, but once narrower module flat > faders moved in, I found no difficulty and joined the flat earth, I mean > fader, society. But I never joined the backwards society, nor the M6 > brigade, but that?s another thread. > > Mike G > > On 5 May 2021, at 19:01, David Taylor via Tech1 > wrote: > > As a outsider from the BBC, I'm with Chris on this....the quadrant 'curved > top' design only appeared because it was the easiest way to update the need > for a constant impedance balanced stepped ladder attenuator, and it was > unnecessary once the concept of Lo-Z feeding into a Hi-Z input became > standardised, so that faders could be flat tracks quite easily. > The Pye desks and others had the narrow quadrant faders bunched together, > so I guess they worked well with the need to 'juggle' with a hand-full of > faders on a 4, 5 or 6 hander chat show ... but once the concept of a fader > 'lined up' with the channel controls on a 'module' (thank you to Rupert > Neve) became the accepted way, then only making the channel width narrower > brought them closer together. And of course the BBC did if fact get Neve to > make a narrower module. > By the way, here's the inside of a 'narrow' Painton: > > In US they went on building constant impedance faders, now flat. Here's > one by Daven, built a few years later. Rather fewer steps than the Painton > I note- 2dB in fact.: > > > D T > > > On Wed, 5 May 2021 at 14:32, Chris Woolf via Tech1 > wrote: > >> The desire for quadrant faders, and the BBC's insistence on using them >> when linear ones had largely taken over is quite a subject in its own >> right - a bit like the fierce squabbles over VUs and PPMs. >> >> The early rotary stud fader was essentially a necessity, since producing >> logarithmic pots couldn't easily be produced using wire wound controls. >> Although ex-radio people swear by them they are massively wasteful of >> panel space, and can only be used two at a time. As soon as multichannel >> desks needed to put lots of faders on a sensible sized panel, things had >> to change. Putting a stud fader on its side (in effect) allowed more >> compact desks to be made. >> >> However as soon as conductive plastic tracks could be used, the massive >> complication of the quadrant design - the long lever, the space for many >> tens of discrete resistors, the multiple spring contacts etc - became >> unnecessary. The linear fader, with its simplicity, lower price, and >> above all, its shallow depth (allowing much slimmer desks) meant that >> every desk manufacturer took them up very quickly. Yes, quadrant faders >> could be made with conductive plastic tracks, but there was precious >> little point from a technical point of view. >> >> Only organisations such as the BBC felt the need to continue the demand >> for quadrant designs, largely, I'd guess, because these expensive items >> felt more substantial than the linear versions. However the much lighter >> mechanism of linear faders makes them far more suitable for motorised >> designs. I'm amused at the Sypher history, demanding quadrants to >> replace linears, and then finding that it was a completely pointless >> exercise. >> >> How many other dead ends did Auntie travel down over the years? Answer >> lists under 10Mbs only, please;} >> >> >> Chris Woolf >> >> >> >> >> -- >> This email has been checked for viruses by Avast antivirus software. >> https://www.avast.com/antivirus >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Wed May 5 15:21:08 2021 From: alanaudio at me.com (Alan Taylor) Date: Wed, 5 May 2021 21:21:08 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: <5F100440-6E7E-4C30-AB4A-D95F1C3991A4@me.com> > On 5 May 2021, at 21:15, Geoff Fletcher wrote: > > When post production dubbing on the Starwars movies the used the Darth fader of course. > Geoff F That comment would have been better if made yesterday. May the fourth be with you. Alan Taylor From alawrance1 at me.com Wed May 5 16:09:05 2021 From: alawrance1 at me.com (Alasdair Lawrance) Date: Wed, 5 May 2021 22:09:05 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: <6B5752A1-5268-4BFE-A1B3-53E43F6AA89E@me.com> Geoff - Star Wars day was yesterday, sorry. Alasdair Lawrance Don?t blame me, I voted Remain. > On 5 May 2021, at 21:16, Geoff Fletcher via Tech1 wrote: > > ? > When post production dubbing on the Starwars movies the used the Darth fader of course. > Geoff F > >> On Wed, 5 May 2021 at 21:07, Alan Taylor via Tech1 wrote: >> You mentioned channel labels. One of the things I really liked with the BBC way up for faders is when the labelling strip is between the faders and the rest of the channel strip, such as on the Neve desks in type V scanners. >> >> In OB vans, the air conditioning is usually less than wonderful and I often get sweaty palms when mixing in hot weather. If the channel labels are at the bottom of the fader, nearest me, my sweaty palms tend to make the labels run, even when using Sharpie permanent markers. Channel designation strips above the faders neatly solves this problem. >> >> To be fair, digital labels on the channel strip also solve that problem, but it?s a more expensive solution and you still can?t write much in the space allowed, nor is there usually any way to draw graphics on electronic labels, such as pitch layouts for football Fx mics. I liked to use ultra-fine marking pens and could easily get three rows of labelling on standard camera tape, or draw simple diagrams. >> >> Alan Taylor >> >>>> On 5 May 2021, at 19:46, Mike Giles via Tech1 wrote: >>>> >>> ?Steve Jagger from Calrec once complained that they had slimmed their channel modules to the optimum, because TV OBs, in particular, needed to fit a lot of faders into a narrow space, but were then receiving comments from other BBC operators that the spacing was too tight to allow for adequate channel labelling! Just goes to show that you can please some of the people some of the time, but you can?t please all of the people all of the time! >> >>> >>> I confess to having been strongly in favour of quadrant faders for the ease of mixing multiple sources one handed, but once narrower module flat faders moved in, I found no difficulty and joined the flat earth, I mean fader, society. But I never joined the backwards society, nor the M6 brigade, but that?s another thread. >>> >>> Mike G >>> >>>> On 5 May 2021, at 19:01, David Taylor via Tech1 wrote: >>>> >>>> As a outsider from the BBC, I'm with Chris on this....the quadrant 'curved top' design only appeared because it was the easiest way to update the need for a constant impedance balanced stepped ladder attenuator, and it was unnecessary once the concept of Lo-Z feeding into a Hi-Z input became standardised, so that faders could be flat tracks quite easily. >>>> The Pye desks and others had the narrow quadrant faders bunched together, so I guess they worked well with the need to 'juggle' with a hand-full of faders on a 4, 5 or 6 hander chat show ... but once the concept of a fader 'lined up' with the channel controls on a 'module' (thank you to Rupert Neve) became the accepted way, then only making the channel width narrower brought them closer together. And of course the BBC did if fact get Neve to make a narrower module. >>>> By the way, here's the inside of a 'narrow' Painton: >>>> >>>> In US they went on building constant impedance faders, now flat. Here's one by Daven, built a few years later. Rather fewer steps than the Painton I note- 2dB in fact.: >>>> >>>> >>>> D T >>>> >>>> >>>>> On Wed, 5 May 2021 at 14:32, Chris Woolf via Tech1 wrote: >>>>> The desire for quadrant faders, and the BBC's insistence on using them >>>>> when linear ones had largely taken over is quite a subject in its own >>>>> right - a bit like the fierce squabbles over VUs and PPMs. >>>>> >>>>> The early rotary stud fader was essentially a necessity, since producing >>>>> logarithmic pots couldn't easily be produced using wire wound controls. >>>>> Although ex-radio people swear by them they are massively wasteful of >>>>> panel space, and can only be used two at a time. As soon as multichannel >>>>> desks needed to put lots of faders on a sensible sized panel, things had >>>>> to change. Putting a stud fader on its side (in effect) allowed more >>>>> compact desks to be made. >>>>> >>>>> However as soon as conductive plastic tracks could be used, the massive >>>>> complication of the quadrant design - the long lever, the space for many >>>>> tens of discrete resistors, the multiple spring contacts etc - became >>>>> unnecessary. The linear fader, with its simplicity, lower price, and >>>>> above all, its shallow depth (allowing much slimmer desks) meant that >>>>> every desk manufacturer took them up very quickly. Yes, quadrant faders >>>>> could be made with conductive plastic tracks, but there was precious >>>>> little point from a technical point of view. >>>>> >>>>> Only organisations such as the BBC felt the need to continue the demand >>>>> for quadrant designs, largely, I'd guess, because these expensive items >>>>> felt more substantial than the linear versions. However the much lighter >>>>> mechanism of linear faders makes them far more suitable for motorised >>>>> designs. I'm amused at the Sypher history, demanding quadrants to >>>>> replace linears, and then finding that it was a completely pointless >>>>> exercise. >>>>> >>>>> How many other dead ends did Auntie travel down over the years? Answer >>>>> lists under 10Mbs only, please;} >>>>> >>>>> >>>>> Chris Woolf >>>>> >>>>> >>>>> >>>>> >>>>> -- >>>>> This email has been checked for viruses by Avast antivirus software. >>>>> https://www.avast.com/antivirus >>>>> >>>>> >>>>> -- >>>>> Tech1 mailing list >>>>> Tech1 at tech-ops.co.uk >>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From chris at chriswoolf.co.uk Wed May 5 17:00:00 2021 From: chris at chriswoolf.co.uk (Chris Woolf) Date: Wed, 05 May 2021 23:00:00 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk>, <5927e6283edavesound@btinternet.com> Message-ID: <4A21CFEC-047F-4FF6-952F-9B35FD9A7766@chriswoolf.co.uk> Ah yes flat faders... But P&G called them linear (in the mechanical sense) even if logarithmic electrically. All so confusing! And the transition from balanced, constant impedance attenuated to virtual earth mixing and similar apologies only adds to the muddle. You really can't separate the engineering from the operation, even if the connection isn't labelled as such. Chris Woolf On 5 May 2021 17:29:32 BST, Nick Ware via Tech1 wrote: >I?m sure what Dave means by linear faders is ?flat faders?. Flat faders >aren?t linear, but have a tapered log ?law?. A significant advantage >that they have is that one fader can have as many layers as you like, >and can be ganged or layered in software. And of course, instant >?scene? recall. I don?t think you could do any of that on an old >fashioned Quadrant fader. >I?ve watched this topic with interest, but honestly, I think some >things are best left in the past. >Cheers, >Nick. >Nick Ware - Sent from my iPad mini 5 > >> On 5 May 2021, at 15:51, Dave Plowman via Tech1 > wrote: >> >> ?In article <5d591501-17f7-3682-b3dc-3148beabb784 at chriswoolf.co.uk>, >> Chris Woolf via Tech1 wrote: >>> However as soon as conductive plastic tracks could be used, the >massive >>> complication of the quadrant design - the long lever, the space for >many >>> tens of discrete resistors, the multiple spring contacts etc - >became >>> unnecessary. The linear fader, with its simplicity, lower price, and > >>> above all, its shallow depth (allowing much slimmer desks) meant >that >>> every desk manufacturer took them up very quickly. Yes, quadrant >faders >>> could be made with conductive plastic tracks, but there was precious > >>> little point from a technical point of view. >> >>> Only organisations such as the BBC felt the need to continue the >demand >>> for quadrant designs, largely, I'd guess, because these expensive >items >>> felt more substantial than the linear versions. However the much >lighter >>> mechanism of linear faders makes them far more suitable for >motorised >>> designs. I'm amused at the Sypher history, demanding quadrants to >>> replace linears, and then finding that it was a completely pointless > >>> exercise. >> >> Linear faders are just fine for music recording or indeed dubbing >where >> you are generally just adjusting levels. Or of course where some form >of >> automation can be used. >> >> On a fast moving live current affairs type prog, quadrants are much >easier >> to juggle several at once. >> >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >-- >Tech1 mailing list >Tech1 at tech-ops.co.uk >http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alec.bray.2 at gmail.com Thu May 6 03:49:05 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Thu, 6 May 2021 09:49:05 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= Message-ID: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> Hi all, Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras.Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?.(?24 Hours/?/ launched on 4^th October 1965 and focussed on investigative journalism. Hmmm.) ?We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that.What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her.The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing.Obviously, gradually, there would be very little of the clothing left on her. ?She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left.I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. ?So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts.Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt.He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. ?I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ???."Cut Piece" ?[Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."??(Wikipedia) ?Well!There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? ?So!I was there!I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. ?Best regards, Keep safe, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 6 04:08:52 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 6 May 2021 10:08:52 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> Message-ID: <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> The art festival she performed the piece at in 1966 was this https://en.wikipedia.org/wiki/Destruction_in_Art_Symposium I?d assume that it was either the show the day before the start ? Thursday 8th September 1966 ? or the day after it ended the following Monday. Most likely the day before as promotion if the dress was still intact, rather than being a report of the strange woman at the art show. David From: Alec Bray via Tech1 Sent: Thursday, May 06, 2021 9:49 AM To: TechOps Forum Subject: [Tech1] Was I really in the Studio with ?. Hi all, Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ??. "Cut Piece" [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. Best regards, Keep safe, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Thu May 6 04:32:08 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Thu, 6 May 2021 10:32:08 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> Message-ID: Private Eye used to refer to her as OK Yoni. If you've ever read the Karma Sutra you will understand the inference! Geoff F On Thu, 6 May 2021 at 10:09, David Brunt via Tech1 wrote: > The art festival she performed the piece at in 1966 was this > https://en.wikipedia.org/wiki/Destruction_in_Art_Symposium > > I?d assume that it was either the show the day before the start ? Thursday > 8th September 1966 ? or the day after it ended the following Monday. Most > likely the day before as promotion if the dress was still intact, rather > than being a report of the strange woman at the art show. > > > David > > *From:* Alec Bray via Tech1 > *Sent:* Thursday, May 06, 2021 9:49 AM > *To:* TechOps Forum > *Subject:* [Tech1] Was I really in the Studio with ?. > > > Hi all, > > Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 > cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s > ?24 Hours?. (?24 Hours*?* launched on 4th October 1965 and focussed on > investigative journalism. Hmmm.) > > We were scheduled for a pre-record. The subject was this fairly petite > young girl in a tweedy type suit ? jacket and skirt (as I recall it was a > bluey shade of relatively thick material) ? and the pre-record was to be an > interview with her. During the interview it turned out that she was an > artist ? and a performance artist at that. What she was going to do was > to sit in an appropriate Art gallery with a pair of scissors next to her. > The visitors were expected to come up to her, pick up the pair of scissors > and snip a piece of material from her clothing. Obviously, gradually, > there would be very little of the clothing left on her. > > She wanted to demonstrate this piece of performance art, so she asked one > of the crew to cope up. Pick up the scissors and cut off a piece from her > clothing. We were all free to volunteer, as I recall, but the guy who > responded was doing the camera to my left. I can?t recall his name, but > he was reasonably tall, rather bulkily built with short, light coloured, > curly hair ? and must have been in his early twenties. > > So, in vision, he walked to the front of his camera, ripped off his cans, > stepped a couple of steps towards this artist (who remained sitting still > throughout), picked up the scissors and made his cuts. Well, it was > thick material in the skirt, so it was more of a hack than a cut, but > eventually he managed to remove a piece of material: it was an isosceles > triangle, the piece he removed, base from knee to knee and the apex > pointing towards the top of the skirt. He retuned to his camera with a > bit of a smirk on his face, but also relieved that this action was over. > The piece was later broadcast in the show, but at the time I did not take > any notice of who the artist was. > > I thought no more about this until recently (2021), looking for some entry > on Wikipedia, I chanced on this: > > ??. "Cut Piece" > > [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal > performance work is "Cut Piece", first performed in 1964 at the Yamaichi > Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her > best suit, kneeling on a stage with a pair of scissors in front of her. She > invited and then instructed audience members to join her on stage and cut > pieces of her clothing off. Confronting issues of gender, class and > cultural identity, Ono sat silently until the piece concluded at her > discretion. The piece was subsequently performed at ... London's Africa > Centre as part of the Destruction in Art Symposium in 1966. Of the piece, > John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: > "[Cut Piece] unveils the interpersonal alienation that characterizes social > relationships between subjects, dismantling the disinterested Kantian > aesthetic model ... It demonstrates the reciprocity between artists, > objects, and viewers and the responsibility beholders have to the reception > and preservation of art."?? (Wikipedia) > > Well! There was definitely a responsibility that the cameraman had to > the reception of this particular piece of performance art, and clearly he > got away with it ? there were no adverse comments over talkback (we others > were silently cheering him on), and, on retrospect, the triangle was not > all that large ? a third of the way up the thigh, perhaps? > > So! I was there! I was in the studio with Yoko Ono, almost certainly ? > I had Yoko Ono in my viewfinder and it has taken all these (55) years for > me to recognise it. > > > Best regards, Keep safe, > > Alec > > -- > > ======= > > Alec Bray > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > > ------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 6 04:33:41 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 6 May 2021 10:33:41 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= Message-ID: <4E8FF8A899634434A43DD7EAAF274DE1@0023242e4e14> Further checking on the Only appearance shows that the live festival event bit with the dress cutting was 28th September. Which I guess might make it the 27th (or 29th) September ?24 Hours?. Should have checked further first, shouldn?t I? From: David Brunt Sent: Thursday, May 06, 2021 10:08 AM To: Alec Bray ; TechOps Forum Subject: Re: [Tech1] Was I really in the Studio with ?. The art festival she performed the piece at in 1966 was this https://en.wikipedia.org/wiki/Destruction_in_Art_Symposium I?d assume that it was either the show the day before the start ? Thursday 8th September 1966 ? or the day after it ended the following Monday. Most likely the day before as promotion if the dress was still intact, rather than being a report of the strange woman at the art show. David From: Alec Bray via Tech1 Sent: Thursday, May 06, 2021 9:49 AM To: TechOps Forum Subject: [Tech1] Was I really in the Studio with ?. Hi all, Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ??. "Cut Piece" [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. Best regards, Keep safe, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Thu May 6 04:34:26 2021 From: alanaudio at me.com (Alan Taylor) Date: Thu, 6 May 2021 10:34:26 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> Message-ID: I knew who the artist would be the moment you started describing the performance. There was an exhibition of Yoko?s work at the Oxford Museum of Modern Art, twenty or more years ago. Various works were displayed, but on the bare white walls of the gallery she wrote tiny handwritten thoughts. Somewhat whacky thoughts for the most part, but a few of them were quite interesting. In a way they reminded me of the surreal handwritten notes that Erik Satie used to write in the margins of his manuscripts to put the performer in the right frame of mind. It created a bit of a dilemma for the museum. Do you preserve the writing as something creative from a famous living artist, or do you paint it over once her exhibition closes? I?ve been back since and the writing is no longer there. Yoko was known for conceptual art. She published a little book which might be the ultimate in conceptual art because she merely described the concepts without actually creating the art illustrating the concept. All that mattered was the concept itself. I?m surprised she even bothered with the book. Surely the concept of the book about concepts would be enough? I worked on a number of different pieces of performance art with Tony Kaye. He was a very successful commercials and pop video director. He saw himself as something of a larger than life character and avant-garde artist. He decided to hire a film crew to record some of his art performances. One of them involved us going to an art gallery opening night which he had no connection with, to film him being obnoxious to the people there. We were briefed not to say anything, or respond to anybody there, but just silently record whatever happened. Inevitably we all got chucked out, which Tony thought was a great result. Clearly my definition of art is a bit more traditional than his. On the other hand it was quite a few days pay for very short hours, so it wasn?t a bad way of paying the bills. Alan Taylor > On 6 May 2021, at 09:49, Alec Bray via Tech1 wrote: > > ? > Hi all, > > Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) > > We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. > > She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. > > So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. > > I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: > > ??. "Cut Piece" > > [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) > > Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? > > So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. > > > > Best regards, Keep safe, > > Alec > > -- > > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From david.jasma at sky.com Thu May 6 04:58:27 2021 From: david.jasma at sky.com (Dave Buckley) Date: Thu, 6 May 2021 10:58:27 +0100 Subject: [Tech1] Channel id strips References: <2d61c6d4-502d-0c22-8130-a83598029030.ref@sky.com> Message-ID: <2d61c6d4-502d-0c22-8130-a83598029030@sky.com> When TV Trainings studio at Woodstock was being updated for colour in 1975, a Audio Developments desk was installed. One of my colleagues asked the PID engineer who was looking after the sound part of the refit, about channel id strips and got the comment back that he called them 'graffiti strips', a name that stuck! In fact on this desk, the id strips were a couple of magnetic plastic strips on which we used to write with a black chinagraph which was kept on a piece of string tied to the TB mic stem. The photo shows me at the mixer around 1980. Dave Buckley -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- A non-text attachment was scrubbed... Name: Dave_at_WG_Mixer.JPG Type: image/jpeg Size: 1902247 bytes Desc: not available URL: From relong at btinternet.com Thu May 6 05:10:23 2021 From: relong at btinternet.com (Roger Long) Date: Thu, 6 May 2021 11:10:23 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: References: Message-ID: <2B3A3535-4B2E-491C-9F7C-67BB8A284020@btinternet.com> I saw OK yoni perform at the Commonwealth Arts Institute in 66 supporting Pink Floyd ,great gig . 2 large paper bags were on stage each containing a person. They had amplified scissors. They began snipping at each other?s bags and were eventually revealed to naked. It was baffling as much as the Floyd and their light show was brilliant. Next time I saw Yoko naked was with John Lennon on the cover of Two Virgin s LP...... Roger Sent from my iPhone > On 6 May 2021, at 10:32, Geoff Fletcher via Tech1 wrote: > > ? > Private Eye used to refer to her as OK Yoni. If you've ever read the Karma Sutra you will understand the inference! > Geoff F > >> On Thu, 6 May 2021 at 10:09, David Brunt via Tech1 wrote: >> The art festival she performed the piece at in 1966 was this >> https://en.wikipedia.org/wiki/Destruction_in_Art_Symposium >> >> I?d assume that it was either the show the day before the start ? Thursday 8th September 1966 ? or the day after it ended the following Monday. Most likely the day before as promotion if the dress was still intact, rather than being a report of the strange woman at the art show. >> >> >> David >> >> From: Alec Bray via Tech1 >> Sent: Thursday, May 06, 2021 9:49 AM >> To: TechOps Forum >> Subject: [Tech1] Was I really in the Studio with ?. >> >> Hi all, >> >> Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) >> >> We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. >> >> She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. >> >> So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. >> >> I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: >> >> ??. "Cut Piece" >> >> [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) >> >> Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? >> >> So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. >> >> >> >> Best regards, Keep safe, >> >> Alec >> >> -- >> >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob: 07789 561 346 >> Tel: 0118 981 7502 >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From gary_critcher at yahoo.com Thu May 6 07:04:33 2021 From: gary_critcher at yahoo.com (Gary Critcher) Date: Thu, 6 May 2021 12:04:33 +0000 (UTC) Subject: [Tech1] John & Yoko TOTP 1970 In-Reply-To: <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> Message-ID: <1914273913.1756056.1620302673203@mail.yahoo.com> ? I'd like to give you this story that features Derek Darley of VT Current Ops, a few of you may remember him. ? I think it would have been a weekday Wednesday evening in 1970.?Derek was in the Current Ops office at about 6pm when a man poked his head around the door and asked the way to the restaurant.? Derek replied that if he gave him 5 minutes he himself would be going over there so he could show him the way. Derek finished up, collected the guy who had a woman with him and proceeded over to the restaurant block. They obviously had a chat on the way.?On getting into the restaurant Derek showed them where everything was, left them, got his meal and settled down at the table where another couple of Current Ops guys were already sitting.???'Derek, who was that you came in with?' One of them asked.'Oh, just some bloke who wanted to know where the restaurant was. I think it's his girlfriend with him.' says Derek.'Derek, that's John and Yoko!''Oh really, I didn't recognise him.' says Derek. ?This was the day they recorded 'Instant Karma!' for TOTP, three different performances I think.?This was John's first TOTP appearance since The Beatles' 'Paperback Writer'/'Rain' in 1966 and indeed it was his last. ? ?All the best,? Gary C? On Thursday, 6 May ?launched on 4th ?October 1965 and focussed on investigative journalism. ?Hmmm.) We were scheduled for a pre-record. The subject was this fairly petite young girively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that.? What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her.? The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing.? Obviously, gradually, there would be very little of the clothing left on her. She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left.? I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been pex pointing towards the top of the skirt.? He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ??.?? "Cut Piece" [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."??? (Wikipedia) Well!? There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? So!? I was there!?? I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. Best regards, Keep safe, Alec ?-- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 6 08:18:27 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 6 May 2021 14:18:27 +0100 Subject: [Tech1] John & Yoko TOTP 1970 In-Reply-To: <1914273913.1756056.1620302673203@mail.yahoo.com> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> <5F1587C02BAA4B5C9F4B60CE586EFAC6@0023242e4e14> <1914273913.1756056.1620302673203@mail.yahoo.com> Message-ID: <1F4F33E4F59D49C5BC125B502589CC0A@0023242e4e14> 11th February 1970. Peter Davison?s first time in TV Centre was the same day. He was in the audience for a Dave Clark pre-record for the following week?s TOTP. David From: Gary Critcher Sent: Thursday, May 06, 2021 1:04 PM To: Alec Bray ; TechOps Forum ; David Brunt Subject: John & Yoko TOTP 1970 I'd like to give you this story that features Derek Darley of VT Current Ops, a few of you may remember him. I think it would have been a weekday Wednesday evening in 1970. Derek was in the Current Ops office at about 6pm when a man poked his head around the door and asked the way to the restaurant. Derek replied that if he gave him 5 minutes he himself would be going over there so he could show him the way. Derek finished up, collected the guy who had a woman with him and proceeded over to the restaurant block. They obviously had a chat on the way. On getting into the restaurant Derek showed them where everything was, left them, got his meal and settled down at the table where another couple of Current Ops guys were already sitting. 'Derek, who was that you came in with?' One of them asked. 'Oh, just some bloke who wanted to know where the restaurant was. I think it's his girlfriend with him.' says Derek. 'Derek, that's John and Yoko!' 'Oh really, I didn't recognise him.' says Derek. This was the day they recorded 'Instant Karma!' for TOTP, three different performances I think. This was John's first TOTP appearance since The Beatles' 'Paperback Writer'/'Rain' in 1966 and indeed it was his last. All the best, Gary C On Thursday, 6 May launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) We were scheduled for a pre-record. The subject was this fairly petite young girively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been pex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ??. "Cut Piece" [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. Best regards, Keep safe, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From chriseames1944 at btinternet.com Thu May 6 08:56:38 2021 From: chriseames1944 at btinternet.com (Chris Eames) Date: Thu, 6 May 2021 14:56:38 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> Message-ID: <2FBE06EE-5072-4D45-B305-69D41EE9C5C1@btinternet.com> Hi Alec , This brings back some memories, and I confess to being the cameraman in question! I think that the programme in question was the old ?Tonight? show, Not 24 Hours. I didn?t have much choice about ?volunteering? for the task, as my camera was in the right position, leaving another camera unmanned would have made coverage difficult. All I remember being told was to keep as far to my left as possible, so as not to mask the shot. The dress that Yoko was wearing, as you say, was thick woollen material. The scissors were unbelievably blunt- possibly on purpose. My fingers were sore from the effort. The one thing that made it easier was that, unlike John Lennon, I did not find the lady the least bit attractive. I had much better waiting for me at home! My only regret is that I did not keep said piece of material. At the time Yoko Ono was relatively unknown. Now it might be worth a fortune! Regards, Chris Eames PS I did get an appearance fee, ?3.00, if I remember correctly (Less tax of course) > On 6 May 2021, at 09:49, Alec Bray via Tech1 wrote: > > ? > Hi all, > > Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) > > We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. > > She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. > > So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. > > I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: > > ??. "Cut Piece" > > [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) > > Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? > > So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. > > > > Best regards, Keep safe, > > Alec > > -- > > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 6 09:25:35 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 6 May 2021 15:25:35 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <2FBE06EE-5072-4D45-B305-69D41EE9C5C1@btinternet.com> References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> <2FBE06EE-5072-4D45-B305-69D41EE9C5C1@btinternet.com> Message-ID: ?Tonight? ended in June 1965. I?m fairly sure it?s been documented that Yoko Ono didn?t visit Britain until that September 1966 appearance. From: Chris Eames via Tech1 Sent: Thursday, May 06, 2021 2:56 PM To: Alec Bray Cc: Tech1 at tech-ops.co.uk Subject: Re: [Tech1] Was I really in the Studio with ?. Hi Alec , This brings back some memories, and I confess to being the cameraman in question! I think that the programme in question was the old ?Tonight? show, Not 24 Hours. I didn?t have much choice about ?volunteering? for the task, as my camera was in the right position, leaving another camera unmanned would have made coverage difficult. All I remember being told was to keep as far to my left as possible, so as not to mask the shot. The dress that Yoko was wearing, as you say, was thick woollen material. The scissors were unbelievably blunt- possibly on purpose. My fingers were sore from the effort. The one thing that made it easier was that, unlike John Lennon, I did not find the lady the least bit attractive. I had much better waiting for me at home! My only regret is that I did not keep said piece of material. At the time Yoko Ono was relatively unknown. Now it might be worth a fortune! Regards, Chris Eames PS I did get an appearance fee, ?3.00, if I remember correctly (Less tax of course) On 6 May 2021, at 09:49, Alec Bray via Tech1 wrote: ? Hi all, Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: ??. "Cut Piece" [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. Best regards, Keep safe, Alec -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502-- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From chriseames1944 at btinternet.com Thu May 6 09:38:11 2021 From: chriseames1944 at btinternet.com (Chris Eames) Date: Thu, 6 May 2021 15:38:11 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: References: Message-ID: <369133BF-E8BB-4E7B-9EC7-6C54B49CE316@btinternet.com> Could have been it?s successor, Nationwide. > On 6 May 2021, at 15:25, David Brunt wrote: > > ? > ?Tonight? ended in June 1965. > > I?m fairly sure it?s been documented that Yoko Ono didn?t visit Britain until that September 1966 appearance. > > > From: Chris Eames via Tech1 > Sent: Thursday, May 06, 2021 2:56 PM > To: Alec Bray > Cc: Tech1 at tech-ops.co.uk > Subject: Re: [Tech1] Was I really in the Studio with ?. > > Hi Alec , > This brings back some memories, and I confess to being the cameraman in question! I think that the programme in question was the old ?Tonight? show, Not 24 Hours. > I didn?t have much choice about ?volunteering? for the task, as my camera was in the right position, leaving another camera unmanned would have made coverage difficult. All I remember being told was to keep as far to my left as possible, so as not to mask the shot. > The dress that Yoko was wearing, as you say, was thick woollen material. The scissors were unbelievably blunt- possibly on purpose. My fingers were sore from the effort. The one thing that made it easier was that, unlike John Lennon, I did not find the lady the least bit attractive. I had much better waiting for me at home! > My only regret is that I did not keep said piece of material. At the time Yoko Ono was relatively unknown. Now it might be worth a fortune! > > Regards, Chris Eames > > PS I did get an appearance fee, ?3.00, if I remember correctly (Less tax of course) > > >> On 6 May 2021, at 09:49, Alec Bray via Tech1 wrote: >> >> ? >> Hi all, >> >> Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 cameras. Setting up and ? a joke this ? ?rehearsing? for that evening?s ?24 Hours?. (?24 Hours? launched on 4th October 1965 and focussed on investigative journalism. Hmmm.) >> >> We were scheduled for a pre-record. The subject was this fairly petite young girl in a tweedy type suit ? jacket and skirt (as I recall it was a bluey shade of relatively thick material) ? and the pre-record was to be an interview with her. During the interview it turned out that she was an artist ? and a performance artist at that. What she was going to do was to sit in an appropriate Art gallery with a pair of scissors next to her. The visitors were expected to come up to her, pick up the pair of scissors and snip a piece of material from her clothing. Obviously, gradually, there would be very little of the clothing left on her. >> >> She wanted to demonstrate this piece of performance art, so she asked one of the crew to cope up. Pick up the scissors and cut off a piece from her clothing. We were all free to volunteer, as I recall, but the guy who responded was doing the camera to my left. I can?t recall his name, but he was reasonably tall, rather bulkily built with short, light coloured, curly hair ? and must have been in his early twenties. >> >> So, in vision, he walked to the front of his camera, ripped off his cans, stepped a couple of steps towards this artist (who remained sitting still throughout), picked up the scissors and made his cuts. Well, it was thick material in the skirt, so it was more of a hack than a cut, but eventually he managed to remove a piece of material: it was an isosceles triangle, the piece he removed, base from knee to knee and the apex pointing towards the top of the skirt. He retuned to his camera with a bit of a smirk on his face, but also relieved that this action was over. The piece was later broadcast in the show, but at the time I did not take any notice of who the artist was. >> >> I thought no more about this until recently (2021), looking for some entry on Wikipedia, I chanced on this: >> >> ??. "Cut Piece" >> >> [Yoko] Ono was a pioneer of conceptual art and performance art. A seminal performance work is "Cut Piece", first performed in 1964 at the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, dressed in her best suit, kneeling on a stage with a pair of scissors in front of her. She invited and then instructed audience members to join her on stage and cut pieces of her clothing off. Confronting issues of gender, class and cultural identity, Ono sat silently until the piece concluded at her discretion. The piece was subsequently performed at ... London's Africa Centre as part of the Destruction in Art Symposium in 1966. Of the piece, John Hendricks wrote in the catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils the interpersonal alienation that characterizes social relationships between subjects, dismantling the disinterested Kantian aesthetic model ... It demonstrates the reciprocity between artists, objects, and viewers and the responsibility beholders have to the reception and preservation of art."?? (Wikipedia) >> >> Well! There was definitely a responsibility that the cameraman had to the reception of this particular piece of performance art, and clearly he got away with it ? there were no adverse comments over talkback (we others were silently cheering him on), and, on retrospect, the triangle was not all that large ? a third of the way up the thigh, perhaps? >> >> So! I was there! I was in the studio with Yoko Ono, almost certainly ? I had Yoko Ono in my viewfinder and it has taken all these (55) years for me to recognise it. >> >> >> >> Best regards, Keep safe, >> >> Alec >> >> -- >> >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob: 07789 561 346 >> Tel: 0118 981 7502 >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From ian.norman at armoor.co.uk Thu May 6 09:53:32 2021 From: ian.norman at armoor.co.uk (Ian Norman) Date: Thu, 6 May 2021 15:53:32 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: References: <6bb52516-b1ff-6266-025f-075789eadf5b@gmail.com> <2FBE06EE-5072-4D45-B305-69D41EE9C5C1@btinternet.com> Message-ID: Dear David, There was another 'Tonight' eventually replaced by 'Newsnight' in the late 70's early 80's,. The first one I worked on was 27th September 1978. https://genome.ch.bbc.co.uk/250550a979974837a00b45fcb3a1ed44 Stay safe Ian Norman Email: mailto:ian.norman at armoor.co.uk Telephone: 01643 888181 On 06/05/2021 15:25, David Brunt via Tech1 wrote: > ?Tonight? ended in June 1965. > > I?m fairly sure it?s been documented that Yoko Ono didn?t visit Britain > until that September 1966 appearance. > > > *From:* Chris Eames via Tech1 > *Sent:* Thursday, May 06, 2021 2:56 PM > *To:* Alec Bray > *Cc:* Tech1 at tech-ops.co.uk > *Subject:* Re: [Tech1] Was I really in the Studio with ?. > Hi Alec , > This brings back some memories, and I confess to being the cameraman in > question! I think that the programme in question was the old ?Tonight? > show, Not 24 Hours. > I didn?t have much choice about ?volunteering? for the task, as my > camera was in the right position, leaving another camera unmanned would > have made coverage difficult. All I remember being told was to keep as > far to my left as possible, so as not to mask the shot. > The dress that Yoko was wearing, as you say, was thick woollen material. > The scissors were unbelievably blunt- possibly on purpose. My fingers > were sore from the effort. The one thing that made it easier was that, > unlike John Lennon, I did not find the lady the least bit attractive. I > had much better waiting for me at home! > My only regret is that I did not keep said piece of material. At the > time Yoko Ono was relatively unknown. Now it might be worth a fortune! > Regards, Chris Eames > PS I did get an appearance fee, ?3.00, if I remember correctly (Less tax > of course) > >> On 6 May 2021, at 09:49, Alec Bray via Tech1 wrote: >> >> ? >> >> Hi all, >> >> Afternoon in Studio E Lime Grove after the refurbishment with EMI 201 >> cameras.Setting up and ? a joke this ? ?rehearsing? for that evening?s >> ?24 Hours?.(?24 Hours/?/ launched on 4^th October 1965 and focussed on >> investigative journalism. Hmmm.) >> >> We were scheduled for a pre-record. The subject was this fairly petite >> young girl in a tweedy type suit ? jacket and skirt (as I recall it >> was a bluey shade of relatively thick material) ? and the pre-record >> was to be an interview with her. During the interview it turned out >> that she was an artist ? and a performance artist at that.What she was >> going to do was to sit in an appropriate Art gallery with a pair of >> scissors next to her.The visitors were expected to come up to her, >> pick up the pair of scissors and snip a piece of material from her >> clothing.Obviously, gradually, there would be very little of the >> clothing left on her. >> >> She wanted to demonstrate this piece of performance art, so she asked >> one of the crew to cope up. Pick up the scissors and cut off a piece >> from her clothing. We were all free to volunteer, as I recall, but the >> guy who responded was doing the camera to my left.I can?t recall his >> name, but he was reasonably tall, rather bulkily built with short, >> light coloured, curly hair ? and must have been in his early twenties. >> >> So, in vision, he walked to the front of his camera, ripped off his >> cans, stepped a couple of steps towards this artist (who remained >> sitting still throughout), picked up the scissors and made his >> cuts.Well, it was thick material in the skirt, so it was more of a >> hack than a cut, but eventually he managed to remove a piece of >> material: it was an isosceles triangle, the piece he removed, base >> from knee to knee and the apex pointing towards the top of the >> skirt.He retuned to his camera with a bit of a smirk on his face, but >> also relieved that this action was over. The piece was later broadcast >> in the show, but at the time I did not take any notice of who the >> artist was. >> >> I thought no more about this until recently (2021), looking for some >> entry on Wikipedia, I chanced on this: >> >> ??."Cut Piece" >> >> [Yoko] Ono was a pioneer of conceptual art and performance art. A >> seminal performance work is "Cut Piece", first performed in 1964 at >> the Yamaichi Concert Hall in Kyoto, Japan. The piece consisted of Ono, >> dressed in her best suit, kneeling on a stage with a pair of scissors >> in front of her. She invited and then instructed audience members to >> join her on stage and cut pieces of her clothing off. Confronting >> issues of gender, class and cultural identity, Ono sat silently until >> the piece concluded at her discretion. The piece was subsequently >> performed at ... London's Africa Centre as part of the Destruction in >> Art Symposium in 1966. Of the piece, John Hendricks wrote in the >> catalogue to Ono's Japan Society retrospective: "[Cut Piece] unveils >> the interpersonal alienation that characterizes social relationships >> between subjects, dismantling the disinterested Kantian aesthetic >> model ... It demonstrates the reciprocity between artists, objects, >> and viewers and the responsibility beholders have to the reception and >> preservation of art."??(Wikipedia) >> >> Well!There was definitely a responsibility that the cameraman had to >> the reception of this particular piece of performance art, and clearly >> he got away with it ? there were no adverse comments over talkback (we >> others were silently cheering him on), and, on retrospect, the >> triangle was not all that large ? a third of the way up the thigh, >> perhaps? >> >> So!I was there!I was in the studio with Yoko Ono, almost certainly ? I >> had Yoko Ono in my viewfinder and it has taken all these (55) years >> for me to recognise it. >> >> >> Best regards, Keep safe, >> >> Alec >> >> -- >> >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob: 07789 561 346 >> Tel: 0118 981 7502 >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > ------------------------------------------------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > From alec.bray.2 at gmail.com Thu May 6 10:10:52 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Thu, 6 May 2021 16:10:52 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <369133BF-E8BB-4E7B-9EC7-6C54B49CE316@btinternet.com> References: <369133BF-E8BB-4E7B-9EC7-6C54B49CE316@btinternet.com> Message-ID: Hi all, First of all - Thank you, Chris, for? your email 'fessing up to being the cameraman. I hope I did not offend you by my description! ? I apologise for not remembering your name, but I forgot most of the crew names when I left the Beeb: (see below!). Like Chris, I was not sure what programme it was for when I started writing the email!? "Tonight" finished in June 1965, "Nationwide" started in September 1969. The only possibility was "24 Hours" since that was located in Studio? E.? What confuses the issue and memories is that Cliff Michelmore was the main presenter of "24 Hours" certainly in the early days ...!!? Kenneth Allsop and Fyfe Robertson from the old "Tonight" were also involved with "24 Hours". When I was teaching at a Boys Secondary School,? I reckoned that I knew the names of at least half of the boys at any one time (getting on for 500) - but when they left, my memory of their names left too!? Not one of those teachers who remembered every single "Fred" from 20 years ago ... -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Thu May 6 10:28:58 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Thu, 6 May 2021 16:28:58 +0100 Subject: [Tech1] DMI In-Reply-To: <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> References: <64lrk1lklo2ur412eql4gp9p.1620066360477@pgtmedia.co.uk> <6dc171fa-1f59-d2f2-d36e-37827bd4ed35@howell61.f9.co.uk> <5d591501-17f7-3682-b3dc-3148beabb784@chriswoolf.co.uk> <018301d741b4$ac13b390$043b1ab0$@pgtmedia.co.uk> Message-ID: <985b03a3-6bc3-727b-f750-ed9a2ead2551@gmail.com> On 05/05/2021 14:43, paul--- via Tech1 wrote: > The biggest dead end has to be the DMI project. In the late nineties we were well into offline desktop editing, using an Eidos Optima (based on an Acorn Archimedes). I'd been working on programmes for obscure UKTV channels that had sixpenny budgets, and then for BBC Choice. At one point I was working on a half hour doc when Carol Owens asked me to talk to a researcher lady from IT.? So she came along to the office to ask me how I worked.? The reason was that they planned on loading all our rushes on to a central system.? I was horrified - I'd just left a magazine programme series for UK Arena and in the office were probably 1000 one hour miniDV rushes tapes, and we were just a tiny corner.? I said they'd need a disc drive the size of TC1. I couldn't imagine how they thought they could do the job, or why they'd want to. Not only that, the material I was working on had official secret material and military personnel that couldn't be in the end product. I wasn't planning that those rushes would be anywhere except on my drawer. Why would they want to do it at all? Because others could then re-use the material (4x3 SD PAL). I said "If I'm not using stuff, why would anyone else want my cast-offs?" She also assumed that they could digitise my notes along with the rushes for reference. I showed her my scribbles and crossing out, interspersed with speculative script snippets. She in turn was horrified - but my notes were just for me. To actually annotate the rushes fully would have cost lots of money we didn't have. So I was a touch surprised when a while later I went along to a lunchtime lecture in the Digilab where a man explained their digitise everything in one place masterplan.? It was completely obvious that these IT people had no idea whatsoever about how programmes worked and how much material they were talking about, most of it dross. He had questions at the end, but I had no way of expressing mine. The lecture was repeated a week later so I went along again, and this time waited till everyone had gone and had a proper discussion with him. He got quite annoyed - his career depended on this, and I was saying the whole idea was bollocks.? I'd left the BBC by some years when someone in charge agreed. B -------------- next part -------------- An HTML attachment was scrubbed... URL: From mibridge at mac.com Thu May 6 16:58:33 2021 From: mibridge at mac.com (Mike Giles) Date: Thu, 6 May 2021 22:58:33 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: References: Message-ID: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> When I came up from Bristol on the 6 month Sound Training Course at TVC, I got to know everybody in the Sound Department - probably the best part of 200 people, to the point that I could greet any Sound person I met in the corridor by name without hesitation. Everybody, that is, except John Hayes, whom I never encountered, but I knew his face from staff photos and he apparently knew mine. But when I returned to Bristol, I wiped the slate as I thought I wouldn?t need to recognise all these people again, not anticipating that within six months I would be back at TVC as a Sound Supervisor, struggling to recall all the names I had known so recently - all except John Hayes, whom I happened to meet in a corridor for the first time, just John and yours truly, and I knew him and he knew me! It took much longer to relearn to attach every name to every face second time around, particularly since, as a new SS, I didn?t encounter as many crews as when I had been attached to illustrious senior supervisors on the training course - I knew my place! Mike G > On 6 May 2021, at 16:11, Alec Bray via Tech1 wrote: > > ? > Hi all, > > First of all - Thank you, Chris, for your email 'fessing up to being the cameraman. I hope I did not offend you by my description! I apologise for not remembering your name, but I forgot most of the crew names when I left the Beeb: (see below!). > > Like Chris, I was not sure what programme it was for when I started writing the email! "Tonight" finished in June 1965, "Nationwide" started in September 1969. The only possibility was "24 Hours" since that was located in Studio E. What confuses the issue and memories is that Cliff Michelmore was the main presenter of "24 Hours" certainly in the early days ...!! Kenneth Allsop and Fyfe Robertson from the old "Tonight" were also involved with "24 Hours". > > > > When I was teaching at a Boys Secondary School, I reckoned that I knew the names of at least half of the boys at any one time (getting on for 500) - but when they left, my memory of their names left too! Not one of those teachers who remembered every single "Fred" from 20 years ago ... > > > > -- > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Fri May 7 03:00:19 2021 From: pat.heigham at amps.net (patheigham) Date: Fri, 7 May 2021 09:00:19 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> References: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> Message-ID: <6094f393.1c69fb81.275d5.f7ac@mx.google.com> After I left TVC, I sneaked back in, five years later ? via Frithville Gardens, and saw that the scene doors to TC3 were open, and the sound boys, whom I knew, were preparing for a phase check of the boom mics. I asked them who was upstairs ? Brian Hiles ? so motioning them for quiet, I pinched my nose to sound out-of-phase, and announced a phase check. Click of the loudspeaker talkback: ?Pat Heigham! What are you doing here!? (After five years, it was nice to be recognised!) Best Pat (Brian was christened ?porridge boots?, I think by Johnny Holmes, who remarked that Brian walked around as though his boots were full of porridge). Sent from Mail for Windows 10 From: Mike Giles via Tech1 Sent: 06 May 2021 22:58 To: Tech Ops Subject: Re: [Tech1] Was I really in the Studio with ?. When I came up from Bristol on the ?6 month Sound Training Course at TVC, I got to know everybody in the Sound Department - probably the best part of 200 people, to the point that I could greet any Sound person I met in the corridor by name without hesitation. Everybody, that is, except John Hayes, whom I never encountered, but I knew his face from staff photos and he apparently knew mine. But when I returned to Bristol, I wiped the slate as I thought I wouldn?t need to recognise all these people again, not anticipating that within six months I would be back at TVC as a Sound Supervisor, struggling to recall all the names I had known so recently - all except John Hayes, whom I happened to meet in a corridor for the first time, just John and yours truly, and I knew him and he knew me! It took much longer to relearn to attach every ?name to every face second time around, particularly since, as a new SS, I didn?t encounter as many crews as when I had been attached to illustrious senior supervisors on the training course - I knew my place! Mike G -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Fri May 7 05:49:19 2021 From: pat.heigham at amps.net (patheigham) Date: Fri, 7 May 2021 11:49:19 +0100 Subject: [Tech1] =?utf-8?q?Was_I_really_in_the_Studio_with_=E2=80=A6=2E?= In-Reply-To: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> References: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> Message-ID: <60951b2f.1c69fb81.c3cf1.4aba@mx.google.com> I?ve posted this before, (Yes, Nick Ware!) But, some may not have seen it.... Beatles on Pops & Lenny My Beatles Story: I worked for BBC TV Tech Ops during the '60's and on a Light Entertainment crew which did "Pops & Lenny the Lion" for the kids at 5 o'clock. Each week we used to have a pop group in to do a number - might have been Gerry & the Pacemakers, Freddie & the Dreamers - whatever. We had a standard mic rig - covering lead, rhythm and bass guitar and drum kit, plus vocals, so it was pretty well (yawn) Oh, another lot! I used to operate a mini-Fisher boom, located on the circle of the TV Theatre, looking after a side set on the stage apron, and during the Beatles number, for it was they, I was aware that the whole circle was vibrating. Looking round I saw that the complete teenage audience were legging it for the exits, presumably to get to the stage door. Years later, I was recording an interview with Paul McCartney and chatting with him, told him that this had been my first exposure to The Beatles - and we had a good laugh. Sorry that they've had their sadnesses with life and death and personal affairs, but for a couple of Liverpool lads who had their songs covered by the likes of Sinatra.....got to be good? Sent from Mail for Windows 10 -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Fri May 7 11:57:04 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Fri, 7 May 2021 17:57:04 +0100 Subject: [Tech1] Nicknames In-Reply-To: <6094f393.1c69fb81.275d5.f7ac@mx.google.com> References: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> <6094f393.1c69fb81.275d5.f7ac@mx.google.com> Message-ID: <821c96bf-6a6e-62a4-499a-8f5855445081@btinternet.com> Most of the nicknames at TVC were the invention of a TM known as 'Hoss'. Cheers, Dave On 07/05/2021 09:00, patheigham via Tech1 wrote: > > After I left TVC, I sneaked back in, five years later ? via Frithville > Gardens, and saw that the scene doors to TC3 were open, and the sound > boys, whom I knew, were preparing for a phase check of the boom mics. > I asked them who was upstairs ? Brian Hiles ? so motioning them for > quiet, I pinched my nose to sound out-of-phase, and announced a phase > check. Click of the loudspeaker talkback: ?Pat Heigham! What are you > doing here!? (After five years, it was nice to be recognised!) > > Best > Pat > > (Brian was christened ?porridge boots?, I think by Johnny Holmes, who > remarked that Brian walked around as though his boots were full of > porridge). > > Sent from Mail for > Windows 10 > > *From: *Mike Giles via Tech1 > *Sent: *06 May 2021 22:58 > *To: *Tech Ops > *Subject: *Re: [Tech1] Was I really in the Studio with ?. > > When I came up from Bristol on the ?6 month Sound Training Course at > TVC, I got to know everybody in the Sound Department - probably the > best part of 200 people, to the point that I could greet any Sound > person I met in the corridor by name without hesitation. Everybody, > that is, except John Hayes, whom I never encountered, but I knew his > face from staff photos and he apparently knew mine. But when I > returned to Bristol, I wiped the slate as I thought I wouldn?t need to > recognise all these people again, not anticipating that within six > months I would be back at TVC as a Sound Supervisor, struggling to > recall all the names I had known so recently - all except John Hayes, > whom I happened to meet in a corridor for the first time, just John > and yours truly, and I knew him and he knew me! > > It took much longer to relearn to attach every ?name to every face > second time around, particularly since, as a new SS, I didn?t > encounter as many crews as when I had been attached to illustrious > senior supervisors on the training course - I knew my place! > > Mike G > > > > > > ------------------------------------------------------------------------ > Avast logo > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > <#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Fri May 7 12:03:29 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Fri, 7 May 2021 18:03:29 +0100 Subject: [Tech1] TVT mini-boom In-Reply-To: <60951b2f.1c69fb81.c3cf1.4aba@mx.google.com> References: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> <60951b2f.1c69fb81.c3cf1.4aba@mx.google.com> Message-ID: I did the mini-boom many times on the B&W Minstrels and I know why Pat did it too! You could see straight across into the quick-change wardrobe room used by the TV Toppers! They tended to wear the least possible and it was difficult to keep the boom arm low. On one show George Chisholm did a routine in front of a mirror and the camera was using a special four image lens, so I could have been in shot eight times in one item - a record! Cheers, Dave On 07/05/2021 11:49, patheigham via Tech1 wrote: > > I?ve posted this before, (Yes, Nick Ware!) > > But, some may not have seen it.... > > *Beatles on Pops & Lenny*** > > My Beatles Story: I worked for BBC TV Tech Ops during the '60's and on > a Light Entertainment crew which did "Pops & Lenny the Lion" for the > kids at 5 o'clock. > > Each week we used to have a pop group in to do a number - might have > been Gerry & the Pacemakers, Freddie & the Dreamers - whatever. > > We had a standard mic rig - covering lead, rhythm and bass guitar and > drum kit, plus vocals, so it was pretty well (yawn) Oh, another lot! > > I used to operate a mini-Fisher boom, located on the circle of the TV > Theatre, looking after a side set on the stage apron, and during the > Beatles number, for it was they, I was aware that the whole circle was > vibrating. Looking round I saw that the complete teenage audience were > legging it for the exits, presumably to get to the stage door. > > Years later, I was recording an interview with Paul McCartney and > chatting with him, told him that this had been my first exposure to > The Beatles - and we had a good laugh. > > Sorry that they've had their sadnesses with life and death and > personal affairs, but for a couple of Liverpool lads who had their > songs covered by the likes of Sinatra.....got to be good? > > Sent from Mail for > Windows 10 > > > > ------------------------------------------------------------------------ > Avast logo > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > <#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Fri May 7 14:32:47 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Fri, 7 May 2021 20:32:47 +0100 Subject: [Tech1] Frank Rose Message-ID: Thanks, Stan, luckily he didn't know me so I escaped the 'honour'? of being Christened! Perhaps we should collect a few that we remember to entertain the younger troops that missed out! Cheers, Dave From bernie833 at gmail.com Fri May 7 15:13:03 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Fri, 7 May 2021 21:13:03 +0100 Subject: [Tech1] Frank Rose In-Reply-To: References: Message-ID: We've sort of been there done that - http://tech-ops.co.uk/next/horse-names/ B On 07/05/2021 20:32, dave.mdv via Tech1 wrote: > Thanks, Stan, luckily he didn't know me so I escaped the 'honour'? of > being Christened! Perhaps we should collect a few that we remember to > entertain the younger troops that missed out! Cheers, Dave > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Fri May 7 15:25:29 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Fri, 7 May 2021 21:25:29 +0100 Subject: [Tech1] Frank Rose In-Reply-To: References: Message-ID: <5d3ccb1e-9045-fd82-5eb9-7565f0ce33db@btinternet.com> Thanks Bernie, I remember that but there have been a lot of new recruits to your amazing web-site who might not have seen the list. Cheers, Dave On 07/05/2021 21:13, Bernard Newnham via Tech1 wrote: > We've sort of been there done that - > > http://tech-ops.co.uk/next/horse-names/ > > B > > > > On 07/05/2021 20:32, dave.mdv via Tech1 wrote: >> Thanks, Stan, luckily he didn't know me so I escaped the 'honour'? of >> being Christened! Perhaps we should collect a few that we remember to >> entertain the younger troops that missed out! Cheers, Dave >> >> > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From vernon.dyer at btinternet.com Fri May 7 16:07:31 2021 From: vernon.dyer at btinternet.com (vernon.dyer) Date: Fri, 07 May 2021 22:07:31 +0100 Subject: [Tech1] Frank Rose Message-ID: Some Crew 3 names I remember:Eddie Stuart was PigletRon Peverell was Hormones, from a time when he was taking prescription tabletsChris Wickham was either The Pondskater or The Waterboatman, can't remember which - and who was the other??Dickie Ling was Number 1 High Street ChinaPaul Kay was Basher, from when he hit a set with a Mole crane, I think, and he tells a hysterical story of The Old Horse explaining how he was? shifting personnel around to cover staff shortages,? using his names, to the bemusement of the management. Happy 88th, Paul.?Best wishes? .... Vern? (no name unless there's one I don't know about!)Sent from my Samsung Galaxy smartphone.-------- Original message --------From: "dave.mdv via Tech1" Date: 07/05/2021 21:25 (GMT+00:00) To: Bernard Newnham , Tech1 Subject: Re: [Tech1] Frank Rose Thanks Bernie, I remember that but there have been a lot of new recruits to your amazing web-site who might not have seen the list. Cheers, Dave On 07/05/2021 21:13, Bernard Newnham via Tech1 wrote: We've sort of been there done that - http://tech-ops.co.uk/next/horse-names/ B On 07/05/2021 20:32, dave.mdv via Tech1 wrote: Thanks, Stan, luckily he didn't know me so I escaped the 'honour'? of being Christened! Perhaps we should collect a few that we remember to entertain the younger troops that missed out! Cheers, Dave -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Fri May 7 18:05:50 2021 From: j at howell61.f9.co.uk (John Howell) Date: Sat, 8 May 2021 00:05:50 +0100 Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: David et al. Still feeling guilty about Sy3+4 quadrant faders I have dug out John Eden-Eadon's paper on the Sypher Suites and you can just make them out if you zoom in to channel 1 in the attached scan. I came across some unusual quadrant faders in the Sub-mix area of the International Control Room at TVC. They were by Penny & Giles. There was a spare one lying on the desk where I was enduring a boring football submix, I picked it up, there was something odd about it's action. After some time I realised that the arc described by the lever had a virtual centre of rotation _outside_ the case, some 2 Cms below in fact. How's it done? A precision assembly of pulleys, nylon cord & levers with a slider on a conductive track, much like the tuning dial drives on ancient radios. It gives a very smooth movement and a useful saving of space. This seems to tie in with Chris's comment about a need for slimmer faders. In the 1980s Chick Anthony, Brian Hiles and others discussed redesigning the shape of the knob to aid fast mixing but I don't think anything came of it. Regards, John. On 05/05/2021 10:01, Alan Taylor via Tech1 wrote: > I originally mentioned motorised quadrant faders in Sypher 3&4 and > speculated that custom built motorised quadrant faders must have been > the most expensive faders ever used! ?I was pretty certain that they > were quadrants in 3&4, but I concede that I was wrong in thinking that > Sypher 1 had quadrants. I only knew it in its original form before it > was re-equipped with an automated desk. ?There was never any doubt > that Sypher 2 had flat motorised faders. > > Quadrant faders were something of a novelty for me as at OBs, all the > trucks from 1970 onwards had flat faders on the sound desks, so I was > fascinated to encounter quadrants for real mixing. ?To be honest, I > didn?t notice any real advantage, but they were certainly pleasant to > use. > > Mention of the frequent need to call sound maintenance brings back > memories. ?Their number had only one digit different to my bank card > PIN. When I was working in a dubbing suite, during the early part of > the block I would find myself accidentally phoning the number of my > PIN and speaking to a charming lady who was utterly confused about > what I was asking because she worked in art dept. ?By the time I had > been working there for a few days, I would dial the number correctly > every time, but when I needed cash, I would accidentally type the > sound maintenance number into the ATM and then had three goes at > trying to remember the right number before it confiscated my card. > > Prior to there being a couch for the director to snooze on, in the > cupboard in the Foley studio, there was a Fisher Price activity toy > for babies. ?It had all sorts of noise making bells, rattles and > clicking sounds. If left near the director?s seat, it could keep > people like Philip Saville amused and out of harms way for ages, while > I got on with laying tracks etc. ?I tried to get out different comedy > sound effect things from time to time to keep him occupied, but he > eventually discovered the cupboard with it?s curious contents, > binge-played with the entire contents for a while and then had no > further interest in any of them after that. ?Subsequently to keep him > out of harm?s way, I got a prop-buyer friend to lend me incredibly > obscure magazines to leave near his position. ?He would casually pick > up a magazine about historic boat restoration, fly fishing in Canada, > or self build housing projects and would be engrossed for quite a > while while the tedious elements of the dub could be completed in peace. > > Alan Taylor > > >> On 5 May 2021, at 09:11, Gary Clarke via Tech1 >> wrote: >> >> ? >> Hi John, good to hear from you. >> I'm afraid your memory is misleading you. Sypher 3 and 4 did indeed >> have quadrant style faders. They were a special design by SSL for the >> 3000 consoles and caused no end of trouble. I believe they were a >> Penny and Giles bespoke design. >> There were 24 mono faders associated with the A80 24 track tape >> machine, 8 for the 8 track and 8 stereo faders for FX rerurns. The >> gram op had 10 stereo faders on his own desk. >> I remember being told each suite cost 250K when commissioned. Thus >> was considerably more than my 3 bed semi cost at the time. >> Data was stored on Bernoulli 8 inch floppy drives. Audio file data >> was stored using a PCM video recorder. >> Much time in Sypher was spent waiting for sound maintenance to come >> and fix the system though some truly great projects were mixed in the >> suites. >> The quadrant faders had massive problems with the motors having to >> move the fader over a curve. They would frequently burn out. I had >> one catch fire on my while mixing. This caused no end of jokes about >> my hot mix. >> I have a picture somewhere of the suite in its original design with >> grams behind an upstand. This was later replaced with a couch for >> directors to snooze in while the dub progressed. >> Gary. >> >> On Wed, 5 May 2021, 08:48 John Howell via Tech1, >> > wrote: >> >> Sorry, I forgot to attach the pictures here they are, >> >> John. >> >> >> >> >> >> On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: >>> >>> Second attempt at replying as the file was too big. >>> >>> https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 >>> >>> >>> This is the eng info about Sypher 3 and 4. >>> First and last page. >>> Lo res picture , but clearly quadrant faders >>> >>> >>> Paul Thackray >>> PGT Media Consulting Ltd. >>> +44 7802 243979 >>> Mail; paul at pgtmedia.co.uk >>> Web; http://www.pgtmedia.co.uk >>> Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 >>> >>> IMDB; http://www.imdb.com/name/nm1488554/ >>> >>> >>> *From:* tech1 at tech-ops.co.uk >>> *Sent:* 3 May 2021 12:19 >>> *To:* tech1 at tech-ops.co.uk >>> *Reply to:* alanaudio at me.com >>> *Subject:* Re: [Tech1] BBC radio quadrant faders.. >>> >>> >>> Thanks for that.? It's a very comprehensive explanation of >>> Sypher 1 and the reasons why it was created. Sypher 1 ( or just >>> Sypher as it was called when there was only one of it ), didn't >>> have any automation at all.? It was all down to the operator >>> getting it right.? One pitfall was that the multitrack tape took >>> a certain amount of time ( 12 frames ) to travel between the >>> erase head and the record head. If you need to punch into record >>> at a certain point, you needed to actually press the big red >>> button 12 frames earlier than intended so that the erased >>> material has reached the record head at the correct moment. If >>> you punch into record a touch too early, you erase the end of >>> the previous sequence and have to rebuild it all over again.? >>> Sod's Law dictates that you only ever chew the end off of a >>> massively complex sequence. >>> >>> Sypher 2 used a Neve 'Flying Faders' Necam automated mixing >>> system where it could remember the operators movements and move >>> the faders in the same manner agin ( synced by timecode ). If >>> you have laid everything on tracks and engaged the automation, >>> you can do a mix, review it and decide that it needs a little >>> tweak. Next time round, all the faders will repeat whatever >>> moves you previously made unless you touch one whereupon it >>> moves under your control, with all the other faders doing what >>> they did before. It was a wonderful system once you got used to >>> it. Nerdy types might be amused to know that the user's fader >>> movements were recorded onto 8" floppy disks - yes eight inch. >>> I've never encountered them in the real world before or since. >>> >>> Syphers 3 & 4 used a different system and my memory is a bit >>> vague about the details.? I'm pretty sure it was automated, with >>> motorised quadrant faders, but I can't remember much more than >>> that, despite having spent countless days operating it. >>> >>> Alan Taylor >>> >>> >>> On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 >>> > wrote: >>> >>>> Hi Alan, >>>> >>>> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>>>> Can any of the people who did Sypher work either confirm or >>>>> dispel my memory that Syphers 3&4 had motorised quadrant faders? >>>> >>>> >>>> Here is John Edon-Eadons paper on Sypher - may answer your >>>> question! >>>> >>>> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >>>> >>>> >>>> >>>> Good Ol' Tech Ops! >>>> >>>> -- >>>> ======= >>>> >>>> Alec Bray >>>> >>>> alec.bray.2 at gmail.com >>>> Mob:07789 561 346 >>>> Tel:0118 981 7502 >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>> >>> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Sypher_J3:4_FadersCU.jpeg Type: image/jpeg Size: 3224773 bytes Desc: not available URL: From geoffletch at gmail.com Fri May 7 18:21:46 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Sat, 8 May 2021 00:21:46 +0100 Subject: [Tech1] Frank Rose In-Reply-To: References: Message-ID: Verne was known as Leak when we were at the BBC together. Then there was Hippo Twyman and Sexy Rexy too. More will come to light I'm sure. Geoff F On Fri, 7 May 2021 at 22:08, vernon.dyer via Tech1 wrote: > Some Crew 3 names I remember: > > Eddie Stuart was Piglet > > Ron Peverell was Hormones, from a time when he was taking prescription > tablets > > Chris Wickham was either The Pondskater or The Waterboatman, can't > remember which - and who was the other? > > Dickie Ling was Number 1 High Street China > > Paul Kay was Basher, from when he hit a set with a Mole crane, I think, > and he tells a hysterical story of The Old Horse explaining how he was > shifting personnel around to cover staff shortages, using his names, to > the bemusement of the management. Happy 88th, Paul. > > Best wishes .... Vern (no name unless there's one I don't know about!) > > > Sent from my Samsung Galaxy smartphone. > -------- Original message -------- > From: "dave.mdv via Tech1" > Date: 07/05/2021 21:25 (GMT+00:00) > To: Bernard Newnham , Tech1 > Subject: Re: [Tech1] Frank Rose > > Thanks Bernie, I remember that but there have been a lot of new recruits > to your amazing web-site who might not have seen the list. Cheers, Dave > On 07/05/2021 21:13, Bernard Newnham via Tech1 wrote: > > We've sort of been there done that - > > http://tech-ops.co.uk/next/horse-names/ > > B > > > > On 07/05/2021 20:32, dave.mdv via Tech1 wrote: > > Thanks, Stan, luckily he didn't know me so I escaped the 'honour' of > being Christened! Perhaps we should collect a few that we remember to > entertain the younger troops that missed out! Cheers, Dave > > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sat May 8 05:16:24 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 8 May 2021 11:16:24 +0100 Subject: [Tech1] Frank Rose In-Reply-To: References: Message-ID: <609664f8.1c69fb81.99790.628a@mx.google.com> When I first joined Crew 2 at Lime Grove, my mentor was Geoff Feld, who was known as ?Butterball? Never knew Eddie Stuart as ?Piglet? ? I?m still in touch with him after all these years. Pat Sent from Mail for Windows 10 From: Geoff Fletcher via Tech1 Sent: 08 May 2021 00:22 To: vernon.dyer Cc: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Frank Rose Verne was known as Leak when we were at the BBC together. Then there was Hippo Twyman and Sexy Rexy too.? More will come to light I'm sure.? Geoff F? On Fri, 7 May 2021 at 22:08, vernon.dyer via Tech1 wrote: Some Crew 3 names I remember: Eddie Stuart was Piglet Ron Peverell was Hormones, from a time when he was taking prescription tablets Chris Wickham was either The Pondskater or The Waterboatman, can't remember which - and who was the other?? Dickie Ling was Number 1 High Street China Paul Kay was Basher, from when he hit a set with a Mole crane, I think, and he tells a hysterical story of The Old Horse explaining how he was? shifting personnel around to cover staff shortages,? using his names, to the bemusement of the management. Happy 88th, Paul.? Best wishes? .... Vern? (no name unless there's one I don't know about!) Sent from my Samsung Galaxy smartphone. -------- Original message -------- From: "dave.mdv via Tech1" Date: 07/05/2021 21:25 (GMT+00:00) To: Bernard Newnham , Tech1 Subject: Re: [Tech1] Frank Rose Thanks Bernie, I remember that but there have been a lot of new recruits to your amazing web-site who might not have seen the list. Cheers, Dave On 07/05/2021 21:13, Bernard Newnham via Tech1 wrote: We've sort of been there done that - http://tech-ops.co.uk/next/horse-names/ B -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From jccglass at gmail.com Sat May 8 05:28:34 2021 From: jccglass at gmail.com (Chris on gmail) Date: Sat, 8 May 2021 11:28:34 +0100 Subject: [Tech1] Frank Rose References: <5d3ccb1e-9045-fd82-5eb9-7565f0ce33db@btinternet.com> Message-ID: <01C39E634A0E43C7BF29084BC1D243F3@dell9100> Another nickname for the list i was christened the Onion Man chris From pat.heigham at amps.net Sat May 8 06:57:40 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 8 May 2021 12:57:40 +0100 Subject: [Tech1] TVT mini-boom In-Reply-To: References: <3BE0C5A7-D7BB-4309-8119-9426D710D42C@mac.com> <60951b2f.1c69fb81.c3cf1.4aba@mx.google.com> Message-ID: <60967cb4.1c69fb81.9750c.b0cb@mx.google.com> I have no memory of the quick change room! But my claim to nefarious fame, was showing my 8mm sync sound movie to the boys and girls in the sound control room of the theatre. There were most of the TV Toppers in various stages of undress, my crew cred improved, I think! Attached is the story of the unofficial film, in case folks missed it previously. Pat Sent from Mail for Windows 10 From: dave.mdv Sent: 07 May 2021 18:03 To: patheigham; tech1 Subject: Re: [Tech1] TVT mini-boom I did the mini-boom many times on the B&W Minstrels and I know why Pat did it too! You could see straight across into the quick-change wardrobe room used by the TV Toppers! They tended to wear the least possible and it was difficult to keep the boom arm low. On one show George Chisholm did a routine in front of a mirror and the camera was using a special four image lens, so I could have been in shot eight times in one item - a record! Cheers, Dave -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: The Black and White Minstrel Show.pdf Type: application/pdf Size: 13142 bytes Desc: not available URL: From waresound at msn.com Sat May 8 10:29:32 2021 From: waresound at msn.com (Nick Ware) Date: Sat, 8 May 2021 15:29:32 +0000 Subject: [Tech1] Rescue dog Message-ID: Here?s a little story you might like: My elder daughter has an eleven month-old Springer Spaniel called Luther. She says he?s a Cocker, but judging by the rate he?s growing we suspect that the cock that caused him didn?t belong to a Cocker. Anyway, a few days ago they were out walking on Elstead common, and came across a distraut couple who?s small dog had gone down into a foxhole and got stuck. They?d been coaxing it and rather stupidly, poking in sticks trying to free it, but that probably only made matters worse. It had gone in even deeper, and they were nowhere near anywhere that they could get help. Luther showed a lot of interest, but couldn?t do much to help either. The hole was much too small for him, and besides they didn?t want two trapped dogs! And then a couple of minutes later, they noticed that Luther had gone off sniffing around a few yards away, and had started scratching frantically. He had literally dug another way into the foxes? lair, found the trapped dog, and dragged him out by the collar, frightened but unharmed. I?ve always admired intelligent lateral thinking, but didn?t know dogs had that ability. How clever was that? Cheers, Nick. Nick Ware - Sent from my iPad mini 5 From graeme.wall at icloud.com Sat May 8 11:00:56 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sat, 8 May 2021 17:00:56 +0100 Subject: [Tech1] Rescue dog In-Reply-To: References: Message-ID: <9D34902F-307C-4562-AE03-EA26A82F5795@icloud.com> Good for Luther! ? Graeme Wall > On 8 May 2021, at 16:29, Nick Ware via Tech1 wrote: > > Here?s a little story you might like: > My elder daughter has an eleven month-old Springer Spaniel called Luther. She says he?s a Cocker, but judging by the rate he?s growing we suspect that the cock that caused him didn?t belong to a Cocker. > Anyway, a few days ago they were out walking on Elstead common, and came across a distraut couple who?s small dog had gone down into a foxhole and got stuck. They?d been coaxing it and rather stupidly, poking in sticks trying to free it, but that probably only made matters worse. It had gone in even deeper, and they were nowhere near anywhere that they could get help. Luther showed a lot of interest, but couldn?t do much to help either. The hole was much too small for him, and besides they didn?t want two trapped dogs! And then a couple of minutes later, they noticed that Luther had gone off sniffing around a few yards away, and had started scratching frantically. He had literally dug another way into the foxes? lair, found the trapped dog, and dragged him out by the collar, frightened but unharmed. > I?ve always admired intelligent lateral thinking, but didn?t know dogs had that ability. How clever was that? > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From jccglass at gmail.com Sat May 8 12:02:02 2021 From: jccglass at gmail.com (Chris on gmail) Date: Sat, 8 May 2021 18:02:02 +0100 Subject: [Tech1] Sanatising Mics References: Message-ID: your opinions please sound guys Studio Spares is offfering a ultra violet sanatising gismo for microphones but i worry what this will do to the foam wind shield in vocal mics given faom deteriorate in sunlight into a crumbly dust and the capsule diaphram in capacitor mics chris Glass From waresound at msn.com Sat May 8 13:11:34 2021 From: waresound at msn.com (Nick Ware) Date: Sat, 8 May 2021 18:11:34 +0000 Subject: [Tech1] Sanatising Mics In-Reply-To: References: , Message-ID: Assuming that it?s Covid we?re concerned about, I?d say if it?s a microphone that?s been in its box or on a shelf for a few days, it?s probably safe to use. So it depends on how often the mics are used, and if you have enough of them to ?rotate? their use. In my case, personal mics are currently getting used about once in every two to three weeks. As I have four and it?s usually only one radio mic needed, that means each one is out of use for around 8 weeks. I last used my C414?s in November (sadly). As I understand it, Covid can survive outside the body for about 24 hours. I agree about UV: I wouldn?t do it. Foam windshields can be washed in soapy water and dried out naturally. The important thing is to be seen by the person you intend to use the mic on to have taken due care. A last minute wipe with an antisceptic wet wipe shows that you?ve done the right thing, and obvs use mask and hand wipe before fitting personals. Where possible I get the user to fit the mic himself/herself. That?s my take on it. I?ll be interested to see what greater minds think, and do as they suggest. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 > On 8 May 2021, at 18:02, Chris on gmail via Tech1 wrote: > > ?your opinions please sound guys > > Studio Spares is offfering a ultra violet sanatising gismo for microphones > > but i worry what this will do to the foam wind shield in vocal mics > > given faom deteriorate in sunlight into a crumbly dust > > and the capsule diaphram in capacitor mics > > chris Glass > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From geoff.hawkes134 at gmail.com Sat May 8 17:55:40 2021 From: geoff.hawkes134 at gmail.com (Geoffrey Hawkes) Date: Sat, 8 May 2021 23:55:40 +0100 Subject: [Tech1] Rescue dog In-Reply-To: References: Message-ID: That?s an amazing and heart warming story, worthy of the famous Lassie but better than that as this was fact not fiction. I think the owners of the rescued dog should put Luther forward for an award to the RSPCA or whichever body issues them for cases like this. Their local tv station would be interested in carrying the story too I?m sure, Geoff Hawkes > On 8 May 2021, at 16:30, Nick Ware via Tech1 wrote: > > ?Here?s a little story you might like: > My elder daughter has an eleven month-old Springer Spaniel called Luther. She says he?s a Cocker, but judging by the rate he?s growing we suspect that the cock that caused him didn?t belong to a Cocker. > Anyway, a few days ago they were out walking on Elstead common, and came across a distraut couple who?s small dog had gone down into a foxhole and got stuck. They?d been coaxing it and rather stupidly, poking in sticks trying to free it, but that probably only made matters worse. It had gone in even deeper, and they were nowhere near anywhere that they could get help. Luther showed a lot of interest, but couldn?t do much to help either. The hole was much too small for him, and besides they didn?t want two trapped dogs! And then a couple of minutes later, they noticed that Luther had gone off sniffing around a few yards away, and had started scratching frantically. He had literally dug another way into the foxes? lair, found the trapped dog, and dragged him out by the collar, frightened but unharmed. > I?ve always admired intelligent lateral thinking, but didn?t know dogs had that ability. How clever was that? > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From alec.bray.2 at gmail.com Sun May 9 02:53:00 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Sun, 9 May 2021 08:53:00 +0100 Subject: [Tech1] Rescue dog In-Reply-To: References: Message-ID: I was amazed at? Luther who? dragged the trapped dog *out by the collar*, That shows amazing intelligence and initiative! Well done Luther!? (any picies??) I agree with Geoff: ".. the owners of the rescued dog should put Luther forward for an award to the RSPCA or whichever body issues them for cases like this .." -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Sun May 9 07:45:20 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Sun, 9 May 2021 13:45:20 +0100 Subject: [Tech1] Finding a 'Tele-distort' example ...and a 'making of Z-cars' video to watch. Message-ID: Hi all, I was looking at YouTube trying to find an old BBC drama that had a good sequence that demonstrated the use of 'Telephone Distort', but so far have only found an old Thames Callan episode that does this. I need both sides to 'go into distort' during the camera cuts, which doesn't always happen. Any suggestions? I'd ideally like it to be a drama at TVC from perhaps 64 to say mid 70's, well when the Pye desks were in TC1,6 and 7. That's because Barry Bonner has given me a superb shot that shows the detail on the Tele-distort Effects panel. What was the BBC name for that unit by the way? Whilst hunting, I came across this 'Late Night Line-Up' featuring the making of a Z-Cars Episode. The full link is rather long: https://www.youtube.com/watch?v=y4LHo0CtvsY&list=PLwygboCFkeeDNr16eTjzSeDTmY5-Z_B4c&index=84 You might get there by just typing 'Late Night Line Up - Z Cars' on the YouTube page. If you go in about half-way into the item, you see lots of the studio rehearsals. The desk here I know is a Type B. Ex Beeb soundman Keith warren has seen this clip and suggests that: *" Les Wilkinson (ex-Maida Vale) is the SS at 21.04; Pat Heigham grams at 21.22. At 26.40 it's Charlie Ringland driving the Heron." * David Taylor www.postfade.co.uk *"About Broadcast and Recorded Sound"* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nick at nickway.co.uk Sun May 9 07:45:55 2021 From: nick at nickway.co.uk (Nick Way) Date: Sun, 9 May 2021 13:45:55 +0100 (BST) Subject: [Tech1] BBC radio quadrant faders.. In-Reply-To: References: Message-ID: <559869959.92341.1620564355430@email.ionos.co.uk> An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sun May 9 08:33:38 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 09 May 2021 14:33:38 +0100 Subject: [Tech1] Finding a 'Tele-distort' example ...and a 'making of Z-cars' video to watch. In-Reply-To: References: Message-ID: <5929eebfd1davesound@btinternet.com> I do remember the distort units fitted to the Pye desks didn't give the same results as the BBC unit. I'd guess the filters were lower order. Reproducing the often nasty mobile phone quality would take a bit more effort these days. ;-) In article , David Taylor via Tech1 wrote: > Hi all, > I was looking at YouTube trying to find an old BBC drama that had a good > sequence that demonstrated the use of 'Telephone Distort', but so far have > only found an old Thames Callan episode that does this. > I need both sides to 'go into distort' during the camera cuts, which > doesn't always happen. > Any suggestions? I'd ideally like it to be a drama at TVC from perhaps 64 > to say mid 70's, well when the Pye desks were in TC1,6 and 7. That's > because Barry Bonner has given me a superb shot that shows the detail on > the Tele-distort Effects panel. What was the BBC name for that unit by the > way? > Whilst hunting, I came across this 'Late Night Line-Up' featuring the > making of a Z-Cars Episode. > The full link is rather long: > https://www.youtube.com/watch?v=y4LHo0CtvsY&list=PLwygboCFkeeDNr16eTjzSeDTmY5-Z_B4c&index=84 > You might get there by just typing 'Late Night Line Up - Z Cars' on the > YouTube page. > If you go in about half-way into the item, you see lots of the studio > rehearsals. The desk here I know is a Type B. Ex Beeb soundman Keith warren > has seen this clip and suggests that: > *" Les Wilkinson (ex-Maida Vale) is the SS at 21.04; Pat Heigham grams at > 21.22. At 26.40 it's Charlie Ringland driving the Heron." * > David Taylor > www.postfade.co.uk > *"About Broadcast and Recorded Sound"* -- Dave Plowman dave at davesound.co.uk London SW 12 From alanaudio at me.com Sun May 9 08:41:43 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 9 May 2021 14:41:43 +0100 Subject: [Tech1] Finding a 'Tele-distort' example ...and a 'making of Z-cars' video to watch. In-Reply-To: References: Message-ID: When I dubbed dramas involving telephone conversations, I didn?t much like the official BBC telephone distort box. Instead I used to drastically reduce the bandwidth using the desk EQ, together with outboard gear ( probably the Scamp rack ) to add a controlled amount of distortion and also a touch of resonance at certain frequencies. I used to keep a notebook with my preferred routing and settings ( drummed into me by two sound supervisors, initially by Dickie Chamberlain when I was training to be a sound supervisor and later by Ian Leiper when I started doing a lot of drama ), therefore setting up the effect was very rapid and on a series I could get consistent results from one episode to another. It?s quite easy to make most prop telephones practical. I made a little adaptor to power them from a 12V battery and could either make two telephones talk to each other, or feed a tape replay into an in-vision phone handset. Maplin used to sell a kit for a telephone ringing generator, which made the system even more versatile. My adaptor box also had a telephone earpiece wired across the voice circuit, with a Sorbo rubber cover with a hole just the right size to shove an ECM 77 into so that I could record telephone quality speech directly to a Timecode Nagra. Oddly enough, the sound recorded via that real telephone earpiece and ECM was a little too good and needed further degrading to sound plausible. Some directors liked the way that two actors could interact in real time, which was when my telephone interface came into its own, while others would shoot the scene at one end and require audio replays when shooting the other end, which would almost certainly be in a different location at a different time. Once I went freelance, laptops were commonplace and the last time I needed to do one end of a telephone call, I broke down the original recording of the far end dialogue into samples of one phrase each, which could be triggered really slickly in response to the the in-vision actor speaking their lines. Because I was feeding the samples into the prop earpiece, the level could be cranked up reasonably loud and the ?far end? was clearly audible over the boom. I didn?t do the dub for that show, but the dubbing mixer would have been able to use that sequence as recorded without much further tweaking. Alan Taylor > On 9 May 2021, at 13:46, David Taylor via Tech1 wrote: > > ? > Hi all, > I was looking at YouTube trying to find an old BBC drama that had a good sequence that demonstrated the use of 'Telephone Distort', but so far have only found an old Thames Callan episode that does this. > I need both sides to 'go into distort' during the camera cuts, which doesn't always happen. > Any suggestions? I'd ideally like it to be a drama at TVC from perhaps 64 to say mid 70's, well when the Pye desks were in TC1,6 and 7. That's because Barry Bonner has given me a superb shot that shows the detail on the Tele-distort Effects panel. What was the BBC name for that unit by the way? > > Whilst hunting, I came across this 'Late Night Line-Up' featuring the making of a Z-Cars Episode. >> The full link is rather long: >> https://www.youtube.com/watch?v=y4LHo0CtvsY&list=PLwygboCFkeeDNr16eTjzSeDTmY5-Z_B4c&index=84 >> You might get there by just typing 'Late Night Line Up - Z Cars' on the YouTube page. > > > If you go in about half-way into the item, you see lots of the studio rehearsals. The desk here I know is a Type B. Ex Beeb soundman Keith warren has seen this clip and suggests that: > " Les Wilkinson (ex-Maida Vale) is the SS at 21.04; Pat Heigham grams at 21.22. At 26.40 it's Charlie Ringland driving the Heron." > > David Taylor > > www.postfade.co.uk > "About Broadcast and Recorded Sound" > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Sun May 9 08:59:03 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 9 May 2021 14:59:03 +0100 Subject: [Tech1] Liquid ingress - was quadrant faders In-Reply-To: <559869959.92341.1620564355430@email.ionos.co.uk> References: <559869959.92341.1620564355430@email.ionos.co.uk> Message-ID: I did a show with Tony Blackburn where he was supposed to do a piece to camera prior to water skiing way out to sea. I didn?t fancy trusting the radio mic to being protected by a condom, so instead we worked out a way to rig the radio mic on his set suit so that he could quickly remove it before actually water skiing. It worked well for the rehearsals, but when we did the recording, he forgot about taking it off and went whizzing about all over the Solent with high velocity blasts of water spraying onto the scarcely protected radio mic. Then at the the end, as he approached the jetty, he let go of the tow rope and swam the last bit to the jetty. I retrieved the radio mic ( Micron ) ASAP, removed the battery and swilled the Tx out with bottled water to wash out all the salt water ( it was saturated ). The radio mic and microphone were left as opened up as possible on top of the sound desk for a couple of days to gently dry out in the gentle warmth and seemed to be none the worse for their little adventure. No thanks to Mr Blackburn. Alan Taylor > On 9 May 2021, at 13:46, Nick Way via Tech1 wrote: > ? > Thanks John, > > Zooming in, I couldn't actually see the square of back-lit buttons for the Director where the phone sits. Perhaps they were a later edition? > > Alan Stokes was "driving the desk" on a kids show. Steven Andrews came in with the hot drinks, and as Alan said "careful Steven..." the drinks spilled into the recessed panel and all the lights came on. > > I ran to the Maintenance Room behind the suite and called Dave Gordon in. As he lifted the panel and unplugged it he called for water. I had a bottle which he proceeded to pour into the circuit board and onto the carpet at my Grams position at the rear. I was horrified, but he shook the assembly dry and reconnected it and all was fine. > > Cheers. > > Nick WAY >> On 08/05/2021 00:05 John Howell via Tech1 wrote: >> >> >> David et al. >> >> Still feeling guilty about Sy3+4 quadrant faders I have dug out John Eden-Eadon's paper on the Sypher Suites and you can just make them out if you zoom in to channel 1 in the attached scan. >> >> I came across some unusual quadrant faders in the Sub-mix area of the International Control Room at TVC. They were by Penny & Giles. There was a spare one lying on the desk where I was enduring a boring football submix, I picked it up, there was something odd about it's action. After some time I realised that the arc described by the lever had a virtual centre of rotation outside the case, some 2 Cms below in fact. How's it done? A precision assembly of pulleys, nylon cord & levers with a slider on a conductive track, much like the tuning dial drives on ancient radios. It gives a very smooth movement and a useful saving of space. This seems to tie in with Chris's comment about a need for slimmer faders. In the 1980s Chick Anthony, Brian Hiles and others discussed redesigning the shape of the knob to aid fast mixing but I don't think anything came of it. >> >> Regards, >> >> John. >> >> >> >> >> >> On 05/05/2021 10:01, Alan Taylor via Tech1 wrote: >>> I originally mentioned motorised quadrant faders in Sypher 3&4 and speculated that custom built motorised quadrant faders must have been the most expensive faders ever used! I was pretty certain that they were quadrants in 3&4, but I concede that I was wrong in thinking that Sypher 1 had quadrants. I only knew it in its original form before it was re-equipped with an automated desk. There was never any doubt that Sypher 2 had flat motorised faders. >>> >>> Quadrant faders were something of a novelty for me as at OBs, all the trucks from 1970 onwards had flat faders on the sound desks, so I was fascinated to encounter quadrants for real mixing. To be honest, I didn?t notice any real advantage, but they were certainly pleasant to use. >>> >>> Mention of the frequent need to call sound maintenance brings back memories. Their number had only one digit different to my bank card PIN. When I was working in a dubbing suite, during the early part of the block I would find myself accidentally phoning the number of my PIN and speaking to a charming lady who was utterly confused about what I was asking because she worked in art dept. By the time I had been working there for a few days, I would dial the number correctly every time, but when I needed cash, I would accidentally type the sound maintenance number into the ATM and then had three goes at trying to remember the right number before it confiscated my card. >>> >>> Prior to there being a couch for the director to snooze on, in the cupboard in the Foley studio, there was a Fisher Price activity toy for babies. It had all sorts of noise making bells, rattles and clicking sounds. If left near the director?s seat, it could keep people like Philip Saville amused and out of harms way for ages, while I got on with laying tracks etc. I tried to get out different comedy sound effect things from time to time to keep him occupied, but he eventually discovered the cupboard with it?s curious contents, binge-played with the entire contents for a while and then had no further interest in any of them after that. Subsequently to keep him out of harm?s way, I got a prop-buyer friend to lend me incredibly obscure magazines to leave near his position. He would casually pick up a magazine about historic boat restoration, fly fishing in Canada, or self build housing projects and would be engrossed for quite a while while the tedious elements of the dub could be completed in peace. >>> >>> Alan Taylor >>> >>> >>>> On 5 May 2021, at 09:11, Gary Clarke via Tech1 wrote: >>>> Hi John, good to hear from you. >>>> I'm afraid your memory is misleading you. Sypher 3 and 4 did indeed have quadrant style faders. They were a special design by SSL for the 3000 consoles and caused no end of trouble. I believe they were a Penny and Giles bespoke design. >>>> There were 24 mono faders associated with the A80 24 track tape machine, 8 for the 8 track and 8 stereo faders for FX rerurns. The gram op had 10 stereo faders on his own desk. >>>> I remember being told each suite cost 250K when commissioned. Thus was considerably more than my 3 bed semi cost at the time. >>>> Data was stored on Bernoulli 8 inch floppy drives. Audio file data was stored using a PCM video recorder. >>>> Much time in Sypher was spent waiting for sound maintenance to come and fix the system though some truly great projects were mixed in the suites. >>>> The quadrant faders had massive problems with the motors having to move the fader over a curve. They would frequently burn out. I had one catch fire on my while mixing. This caused no end of jokes about my hot mix. >>>> I have a picture somewhere of the suite in its original design with grams behind an upstand. This was later replaced with a couch for directors to snooze in while the dub progressed. >>>> Gary. >>>> >>>> On Wed, 5 May 2021, 08:48 John Howell via Tech1, wrote: >>>> Sorry, I forgot to attach the pictures here they are, >>>> >>>> John. >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> On 03/05/2021 19:26, Paul Thackray via Tech1 wrote: >>>>> >>>>> Second attempt at replying as the file was too big. >>>>> >>>>> https://www.dropbox.com/s/s5uv3mc7x1tadm3/enginf30.pdf?dl=0 >>>>> >>>>> This is the eng info about Sypher 3 and 4. >>>>> First and last page. >>>>> Lo res picture , but clearly quadrant faders >>>>> >>>>> >>>>> Paul Thackray >>>>> PGT Media Consulting Ltd. >>>>> +44 7802 243979 >>>>> Mail; paul at pgtmedia.co.uk >>>>> Web; http://www.pgtmedia.co.uk >>>>> Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 >>>>> IMDB; http://www.imdb.com/name/nm1488554/ >>>>> >>>>> From: tech1 at tech-ops.co.uk >>>>> Sent: 3 May 2021 12:19 >>>>> To: tech1 at tech-ops.co.uk >>>>> Reply to: alanaudio at me.com >>>>> Subject: Re: [Tech1] BBC radio quadrant faders.. >>>>> >>>>> Thanks for that. It's a very comprehensive explanation of Sypher 1 and the reasons why it was created. Sypher 1 ( or just Sypher as it was called when there was only one of it ), didn't have any automation at all. It was all down to the operator getting it right. One pitfall was that the multitrack tape took a certain amount of time ( 12 frames ) to travel between the erase head and the record head. If you need to punch into record at a certain point, you needed to actually press the big red button 12 frames earlier than intended so that the erased material has reached the record head at the correct moment. If you punch into record a touch too early, you erase the end of the previous sequence and have to rebuild it all over again. Sod's Law dictates that you only ever chew the end off of a massively complex sequence. >>>>> >>>>> Sypher 2 used a Neve 'Flying Faders' Necam automated mixing system where it could remember the operators movements and move the faders in the same manner agin ( synced by timecode ). If you have laid everything on tracks and engaged the automation, you can do a mix, review it and decide that it needs a little tweak. Next time round, all the faders will repeat whatever moves you previously made unless you touch one whereupon it moves under your control, with all the other faders doing what they did before. It was a wonderful system once you got used to it. Nerdy types might be amused to know that the user's fader movements were recorded onto 8" floppy disks - yes eight inch. I've never encountered them in the real world before or since. >>>>> >>>>> Syphers 3 & 4 used a different system and my memory is a bit vague about the details. I'm pretty sure it was automated, with motorised quadrant faders, but I can't remember much more than that, despite having spent countless days operating it. >>>>> >>>>> Alan Taylor >>>>> >>>>> >>>>> On 3 May 2021, at 3 May . 11:38, Alec Bray via Tech1 wrote: >>>>> >>>>>> Hi Alan, >>>>>> >>>>>> On 03/05/2021 10:22, Alan Taylor via Tech1 wrote: >>>>>>> Can any of the people who did Sypher work either confirm or dispel my memory that Syphers 3&4 had motorised quadrant faders? >>>>>> >>>>>> Here is John Edon-Eadons paper on Sypher - may answer your question! >>>>>> >>>>>> http://www.tech-ops.co.uk/bray/PDF/SYPHER_BBC_Engineering_108.pdf >>>>>> >>>>>> >>>>>> >>>>>> Good Ol' Tech Ops! >>>>>> >>>>>> -- >>>>>> ======= >>>>>> >>>>>> Alec Bray >>>>>> >>>>>> alec.bray.2 at gmail.com >>>>>> Mob: 07789 561 346 >>>>>> Tel: 0118 981 7502 >>>>>> -- >>>>>> Tech1 mailing list >>>>>> Tech1 at tech-ops.co.uk >>>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>>> >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Sun May 9 10:35:49 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 9 May 2021 16:35:49 +0100 Subject: [Tech1] Eddie Stuart In-Reply-To: <609664f8.1c69fb81.99790.628a@mx.google.com> References: <609664f8.1c69fb81.99790.628a@mx.google.com> Message-ID: <868b5eff-44df-cc7f-db59-f063f361ba2a@btinternet.com> Eddie was no.2 to Stan Appel and I well remember when he collapsed outside the TVT and his life was saved by one of the young ladies working on the show, so I'm glad to hear that he is still around! Cheers, Dave On 08/05/2021 11:16, patheigham via Tech1 wrote: > > When I first joined Crew 2 at Lime Grove, my mentor was Geoff Feld, > who was known as ?Butterball? > > Never knew Eddie Stuart as ?Piglet? ? I?m still in touch with him > after all these years. > > Pat > > Sent from Mail for > Windows 10 > > *From: *Geoff Fletcher via Tech1 > *Sent: *08 May 2021 00:22 > *To: *vernon.dyer > *Cc: *tech1 at tech-ops.co.uk > *Subject: *Re: [Tech1] Frank Rose > > Verne was known as Leak when we were at the BBC together. > > Then there was Hippo Twyman and Sexy Rexy too. > > More will come to light I'm sure. > > Geoff F > > On Fri, 7 May 2021 at 22:08, vernon.dyer via Tech1 > > wrote: > > Some Crew 3 names I remember: > > Eddie Stuart was Piglet > > Ron Peverell was Hormones, from a time when he was taking > prescription tablets > > Chris Wickham was either The Pondskater or The Waterboatman, can't > remember which - and who was the other? > > Dickie Ling was Number 1 High Street China > > Paul Kay was Basher, from when he hit a set with a Mole crane, I > think, and he tells a hysterical story of The Old Horse explaining > how he was? shifting personnel around to cover staff shortages,? > using his names, to the bemusement of the management. Happy 88th, > Paul. > > Best wishes? .... Vern? (no name unless there's one I don't know > about!) > > Sent from my Samsung Galaxy smartphone. > > -------- Original message -------- > > From: "dave.mdv via Tech1" > > > Date: 07/05/2021 21:25 (GMT+00:00) > > To: Bernard Newnham >, Tech1 > > > Subject: Re: [Tech1] Frank Rose > > Thanks Bernie, I remember that but there have been a lot of new > recruits to your amazing web-site who might not have seen the > list. Cheers, Dave > > On 07/05/2021 21:13, Bernard Newnham via Tech1 wrote: > > We've sort of been there done that - > > http://tech-ops.co.uk/next/horse-names/ > > > B > > > > > ------------------------------------------------------------------------ > Avast logo > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > <#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Sun May 9 10:38:19 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 9 May 2021 16:38:19 +0100 Subject: [Tech1] Rescue dog In-Reply-To: References: Message-ID: Brilliant! When you watch all the animal programs that are on these days you begin to realise that we humans are well behind animals in many respects! Cheers, Dave ?On 08/05/2021 16:29, Nick Ware via Tech1 wrote: > Here?s a little story you might like: > My elder daughter has an eleven month-old Springer Spaniel called Luther. She says he?s a Cocker, but judging by the rate he?s growing we suspect that the cock that caused him didn?t belong to a Cocker. > Anyway, a few days ago they were out walking on Elstead common, and came across a distraut couple who?s small dog had gone down into a foxhole and got stuck. They?d been coaxing it and rather stupidly, poking in sticks trying to free it, but that probably only made matters worse. It had gone in even deeper, and they were nowhere near anywhere that they could get help. Luther showed a lot of interest, but couldn?t do much to help either. The hole was much too small for him, and besides they didn?t want two trapped dogs! And then a couple of minutes later, they noticed that Luther had gone off sniffing around a few yards away, and had started scratching frantically. He had literally dug another way into the foxes? lair, found the trapped dog, and dragged him out by the collar, frightened but unharmed. > I?ve always admired intelligent lateral thinking, but didn?t know dogs had that ability. How clever was that? > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 From dave.mdv at btinternet.com Sun May 9 10:49:23 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 9 May 2021 16:49:23 +0100 Subject: [Tech1] Tele-distort In-Reply-To: References: Message-ID: The telephone distort was built into the DK4/20 sound desk by the SS's right hand, and could be switched by the vision mixer buttons., way ahead of it's time! There was also a Ferrograph tape recorder built into the LHS drawer, and even more advanced you could switch the 3" talkback speaker, top right, to the main output to hear what the punters at home would be hearing on their Ferguson TVs!. Cheers, Dave On 09/05/2021 13:45, David Taylor via Tech1 wrote: > Hi all, > I was looking at YouTube trying to find an old BBC drama that had a > good sequence that demonstrated the use of 'Telephone Distort', but so > far have only found an old Thames Callan episode that does this. > I need both sides to 'go into distort' during the camera cuts, which > doesn't always happen. > Any suggestions? I'd ideally like it to be a drama at TVC from perhaps > 64 to say mid 70's, well when the Pye desks were in TC1,6 and 7. > That's because Barry Bonner has given me a superb shot that shows the > detail on the Tele-distort Effects panel. What was the BBC name for > that unit by the way? > > Whilst hunting, I came across this 'Late Night Line-Up' featuring the > making of a Z-Cars Episode. >> The full link is rather long: >> https://www.youtube.com/watch?v=y4LHo0CtvsY&list=PLwygboCFkeeDNr16eTjzSeDTmY5-Z_B4c&index=84 >> >> You might get there by just typing 'Late Night Line Up - Z Cars' on >> the YouTube page. > > If you go in about half-way into the item, you see lots of the studio > rehearsals. The desk here I know is a Type B. Ex Beeb soundman Keith > warren has seen this clip and suggests that: > /" Les Wilkinson (ex-Maida Vale) is the SS at 21.04; Pat Heigham grams > at 21.22.? At 26.40 it's Charlie Ringland driving the Heron." / > / > / > David Taylor > > www.postfade.co.uk > /"About Broadcast and Recorded Sound"/ > -------------- next part -------------- An HTML attachment was scrubbed... URL: From mikej at bmanor.co.uk Sun May 9 10:56:18 2021 From: mikej at bmanor.co.uk (Mike Jordan) Date: Sun, 9 May 2021 16:56:18 +0100 Subject: [Tech1] Finding a 'Tele-distort' example ...and a 'making of Z-cars' video to watch. In-Reply-To: References: Message-ID: <978FE0C5C2FE444EA14EAB3872152D1A@Gigabyte> Brilliant video! What studio would that have been for the final recording? My 4k downloader software now has it all 74Meg worth! Mike From: David Taylor via Tech1 Sent: Sunday, May 09, 2021 1:45 PM To: Tech-Ops-chit-chat Subject: [Tech1] Finding a 'Tele-distort' example ...and a 'making of Z-cars' video to watch. Hi all, I was looking at YouTube trying to find an old BBC drama that had a good sequence that demonstrated the use of 'Telephone Distort', but so far have only found an old Thames Callan episode that does this. I need both sides to 'go into distort' during the camera cuts, which doesn't always happen. Any suggestions? I'd ideally like it to be a drama at TVC from perhaps 64 to say mid 70's, well when the Pye desks were in TC1,6 and 7. That's because Barry Bonner has given me a superb shot that shows the detail on the Tele-distort Effects panel. What was the BBC name for that unit by the way? Whilst hunting, I came across this 'Late Night Line-Up' featuring the making of a Z-Cars Episode. The full link is rather long: https://www.youtube.com/watch?v=y4LHo0CtvsY&list=PLwygboCFkeeDNr16eTjzSeDTmY5-Z_B4c&index=84 You might get there by just typing 'Late Night Line Up - Z Cars' on the YouTube page. -------------- next part -------------- An HTML attachment was scrubbed... URL: From waresound at msn.com Sun May 9 14:58:27 2021 From: waresound at msn.com (Nick Ware) Date: Sun, 9 May 2021 19:58:27 +0000 Subject: [Tech1] Rescue dog Message-ID: ???Sadly, in the heat of the moment no pictures were taken. And the story wouldn?t be particularly newsworthy without some comment from the distraut couple, but the likelihood of bumping into them again is a bit slim. Otherwise, yes, that was my reaction too. Wish I?d been there. Elstead Common, by the way, is a fabulous natural and well managed place to visit. We love it there. The tragedy is though, that much of the low-lying grassland and boardwalk (pic) was badly damaged by fire this time last year. (Google Elstead common fire and you can see some great drone footage of it). [cid:FA512866-6081-4C22-9C65-6BF978DB7C7F-L0-001] Cheers, Nick. Nick Ware - Sent from my iPad mini 5 On 9 May 2021, at 09:17, Alec Bray via Tech1 wrote: ? I was amazed at Luther who dragged the trapped dog out by the collar, That shows amazing intelligence and initiative! Well done Luther! (any picies??) I agree with Geoff: ".. the owners of the rescued dog should put Luther forward for an award to the RSPCA or whichever body issues them for cases like this .." -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image0.jpeg Type: image/jpeg Size: 2914402 bytes Desc: image0.jpeg URL: From dave.mdv at btinternet.com Sun May 9 15:01:55 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 9 May 2021 21:01:55 +0100 Subject: [Tech1] Telephone distort facility Message-ID: <60b11a3e-ba00-e526-46e5-fdbead811eb2@btinternet.com> The telephone distort was built into the DK4/20 sound desk by the SS's right hand, and could be switched by the vision mixer buttons., way ahead of it's time! There was also a Ferrograph tape recorder built into the LHS drawer, and even more advanced you could switch the 3" talkback speaker, top right, to the main output to hear what the punters at home would be hearing on their Ferguson TVs!. This was in TC2 and others, where I worked on 'Juke Box Jury' and 'Compact' among many others. Cheers, Dave From pat.heigham at amps.net Mon May 10 02:55:29 2021 From: pat.heigham at amps.net (patheigham) Date: Mon, 10 May 2021 08:55:29 +0100 Subject: [Tech1] Rescue dog In-Reply-To: References: Message-ID: <6098e6f1.1c69fb81.202e6.e173@mx.google.com> A lovely heart-warming story with a happy ending! Pat Sent from Mail for Windows 10 From: dave.mdv via Tech1 Sent: 09 May 2021 16:38 To: Nick Ware; tech1 Subject: Re: [Tech1] Rescue dog Brilliant! When you watch all the animal programs that are on these days you begin to realise that we humans are well behind animals in many respects! Cheers, Dave ?On 08/05/2021 16:29, Nick Ware via Tech1 wrote: > Here?s a little story you might like: > My elder daughter has an eleven month-old Springer Spaniel called Luther. She says he?s a Cocker, but judging by the rate he?s growing we suspect that the cock that caused him didn?t belong to a Cocker. > Anyway, a few days ago they were out walking on Elstead common, and came across a distraut couple who?s small dog had gone down into a foxhole and got stuck. They?d been coaxing it and rather stupidly, poking in sticks trying to free it, but that probably only made matters worse. It had gone in even deeper, and they were nowhere near anywhere that they could get help. Luther showed a lot of interest, but couldn?t do much to help either. The hole was much too small for him, and besides they didn?t want two trapped dogs! And then a couple of minutes later, they noticed that Luther had gone off sniffing around a few yards away, and had started scratching frantically. He had literally dug another way into the foxes? lair, found the trapped dog, and dragged him out by the collar, frightened but unharmed. > I?ve always admired intelligent lateral thinking, but didn?t know dogs had that ability. How clever was that? > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From waresound at msn.com Mon May 10 08:05:14 2021 From: waresound at msn.com (Nick Ware) Date: Mon, 10 May 2021 13:05:14 +0000 Subject: [Tech1] Acorn stairlift Message-ID: I?m aware that this isn?t a selling or advertising platform as such, but I have a request and/or proposition that might be of value to someone here, or maybe someone you know. We lost an elderly aunt and an uncle within three days of each other at the beginning of March, and have a house to clear of all its contents. On January 14th this year they had a stairlift installed, and now, rather than scrap it, we want to find a home for it. It?s an Acorn straight stairlift (no curves, points etc.). It mounts onto the stair treads, not the wall. It had a previous owner from new who, like our rellies, never really got to use it. As I understand it, it?s probably less than a year old. The bottom line is that it?s free to a good home. The possible snag is that it?s in Taunton and would have to be collected. The ideal is that we would like something for it to donate to one of the charities they supported, in particular, Army Veterans or RNIB. And the thing to do is, please call me on 07802-246088 or email me privately. Cheers and thanks, Nick. Nick Ware - Sent from my iPad mini 5 From bernie833 at gmail.com Mon May 10 10:47:37 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Mon, 10 May 2021 16:47:37 +0100 Subject: [Tech1] Disorganised Message-ID: <5e8e69b3-d639-5d84-f9ff-173529c5ef88@gmail.com> I'm still hoping to have lunch at The Doggett's Coat and Badge on May 25th. It seems that the rules now are that you can book a table for six, so I've done that.? A table for six 1200-1400. Normally at these things we have between 30 and 40, which won't quite fit.??? So.....? If you fancy coming, please let me know, and the first five (or less) will be booked on the table. After that, you can book another table for six on the DCB website.? We could end up with two of us, or fill the place with sixer groups. How, or whether, this will work I don't know, but I want to give it a go. I've had enough of being stuck here, endlessly on Zoom. cheers B -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Tue May 11 06:06:16 2021 From: pat.heigham at amps.net (patheigham) Date: Tue, 11 May 2021 12:06:16 +0100 Subject: [Tech1] Eddie Stuart In-Reply-To: <868b5eff-44df-cc7f-db59-f063f361ba2a@btinternet.com> References: <609664f8.1c69fb81.99790.628a@mx.google.com> <868b5eff-44df-cc7f-db59-f063f361ba2a@btinternet.com> Message-ID: <609a6529.1c69fb81.7933e.2ca4@mx.google.com> Update: I phoned Eddie last night ? he sounded good, at 88! So he?s still in the land of the living. He married Make-Up supervisor Cherry Alston, who succumbed to cancer, sadly. His present wife is Angela, but I?m not sure what her job was. Pat Sent from Mail for Windows 10 From: dave.mdv Sent: 09 May 2021 16:35 To: patheigham; tech1 Subject: Re: [Tech1] Eddie Stuart Eddie was no.2 to Stan Appel and I well remember when he collapsed outside the TVT and his life was saved by one of the young ladies working on the show, so I'm glad to hear that he is still around! Cheers, Dave On 08/05/2021 11:16, patheigham via Tech1 wrote: Never knew Eddie Stuart as ?Piglet? ? I?m still in touch with him after all these years. ? Pat ? Sent from Mail for Windows 10 ? -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Tue May 11 08:27:00 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Tue, 11 May 2021 14:27:00 +0100 Subject: [Tech1] Amateur night Message-ID: With my wife and I doing our top Stewart Morris impersonations " Zoom In, for Christ's sake!!" -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: llcdpklflconagma.png Type: image/png Size: 1045129 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: eahdheojmcbmlekf.png Type: image/png Size: 873814 bytes Desc: not available URL: From davesound at btinternet.com Tue May 11 09:09:24 2021 From: davesound at btinternet.com (Dave Plowman) Date: Tue, 11 May 2021 15:09:24 +0100 Subject: [Tech1] Amateur night In-Reply-To: References: Message-ID: <592af9b20bdavesound@btinternet.com> Likely researchers holding the signs. Given the way the industry has gone, who could blame them? ;-) In article , Bernard Newnham via Tech1 wrote: > With my wife and I doing our top Stewart Morris impersonations " Zoom > In, for Christ's sake!!" > --------------A720EB2CF297B54FF9677A82 > Content-Type: multipart/related; > boundary="------------4AD75D9C5B584EC2C6035D4D" -- Dave Plowman dave at davesound.co.uk London SW 12 From waresound at msn.com Tue May 11 12:50:57 2021 From: waresound at msn.com (Nick Ware) Date: Tue, 11 May 2021 17:50:57 +0000 Subject: [Tech1] Amateur night Message-ID: You?re making a brave assumption that there?s anyone behind the camera *to* zoom in. N. Nick Ware - Sent from my iPad mini 5 On 11 May 2021, at 14:27, Bernard Newnham via Tech1 wrote: ?With my wife and I doing our top Stewart Morris impersonations " Zoom In, for Christ's sake!!" [X][X]-- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: llcdpklflconagma.png Type: image/png Size: 1045129 bytes Desc: llcdpklflconagma.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: eahdheojmcbmlekf.png Type: image/png Size: 873814 bytes Desc: eahdheojmcbmlekf.png URL: From bernie833 at gmail.com Tue May 11 14:45:26 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Tue, 11 May 2021 20:45:26 +0100 Subject: [Tech1] Fwd: Fwd: Butch Calderwood, O.A.M., A.C.S. In-Reply-To: <81D57C24-3E74-454C-AB54-B0170E943E8B@btinternet.com> References: <81D57C24-3E74-454C-AB54-B0170E943E8B@btinternet.com> Message-ID: <96536f4d-a23b-1f5a-ad12-b51bd34a0a5b@gmail.com> > > > -------- Forwarded Message -------- > Subject: Butch Calderwood, O.A.M., A.C.S. > Date: Tue, 11 May 2021 14:56:58 +0100 (BST) > From: Fenella C. > Reply-To: Fenella C. > To: kfbbcpa at gmail.com, membership at bbcpa.org.uk > > > > Dear Kate and Committee, > > It is with much regret that I heard of the death of the long-serving > and much esteemed former Ealing film cameraman Butch Calderwood, OAM, > ACS, who died on Saturday, 8th May in his home city of Sydney.? He > would have celebrated his 92nd birthday in June. > > I attach a couple of images taken from the Australian Cinematographer > magazine when he retired as Editor - his last edition was Issue 52 in > December 2011.? [Sorry one is upside-down!] > > I have no doubt there are many former colleagues who will remember > Butch and have memories and stories about him. > > Fenella Sturt [2397/98L] > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ACmag cover.jpg Type: image/jpeg Size: 2504938 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ButchC.2011.jpg Type: image/jpeg Size: 2462107 bytes Desc: not available URL: From dave.mdv at btinternet.com Wed May 12 06:59:09 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Wed, 12 May 2021 12:59:09 +0100 Subject: [Tech1] Eddie Stuart In-Reply-To: <603871800A6AF00E@sa-prd-rgout-005.btmx-prd.synchronoss.net> References: <603871800A6AF00E@sa-prd-rgout-005.btmx-prd.synchronoss.net> Message-ID: Many apologies, Angela, looking at my sound crew lists I can see that Eddie was SC on Crew 3 and Stan was SC on crew 13, at the same time in 1965/6. Eddie was replaced by Ron Peverall in early '66, came back for a short while in late '67 and then disappeared from my lists, being replaced by G.S.Nicholls by March 1968. Cheers, Dave ?On 11/05/2021 12:49, angelamarks.t21 wrote: > It seems you are remembering someone else Dave. Ed was a trainee on > Dave Hammonds Crew 7 before going to Crew 3 where he eventually? > became senior cameraman. He was? never on a crew with Stan Appel. > > > > Sent from my Galaxy > > > -------- Original message -------- > From: patheigham via Tech1 > Date: 11/05/21 12:06 (GMT+00:00) > To: "dave.mdv" , tech1 > Subject: Re: [Tech1] Eddie Stuart > > Update: > > I phoned Eddie last night ? he sounded good, at 88! > > So he?s still in the land of the living. > > He married Make-Up supervisor Cherry Alston, who succumbed to cancer, > sadly. His present wife is Angela, but I?m not sure what her job was. > > Pat > > Sent from Mail for > Windows 10 > > *From: *dave.mdv > *Sent: *09 May 2021 16:35 > *To: *patheigham ; tech1 > > *Subject: *Re: [Tech1] Eddie Stuart > > Eddie was no.2 to Stan Appel and I well remember when he collapsed > outside the TVT and his life was saved by one of the young ladies > working on the show, so I'm glad to hear that he is still around! > Cheers, Dave > > On 08/05/2021 11:16, patheigham via Tech1 wrote: > > Never knew Eddie Stuart as ?Piglet? ? I?m still in touch with him > after all these years. > > Pat > > Sent from Mail > for Windows 10 > > > > ------------------------------------------------------------------------ > Avast logo > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > <#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Wed May 12 09:15:10 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Wed, 12 May 2021 15:15:10 +0100 Subject: [Tech1] Disorganised, but not quite as much as usual In-Reply-To: References: <5e8e69b3-d639-5d84-f9ff-173529c5ef88@gmail.com> Message-ID: <8a7fc83d-f7cc-380a-89ae-315551f82771@gmail.com> Hi Peter No - in fact you are number one. I've always said on these that a quorum is two, so maybe we are it!? Perhaps people aren't ready to leave their nests yet, as are we get-up-and-go-people. We just need four more for our first table. cheers B On 12/05/2021 13:06, Peter Neill wrote: > Hi Bernie- I?ve only just seen this. I was getting so many emails from > the group that I created a special folder and didn?t spot this one. > I?m up for it. Have you got your six or do I need to start another group? > Best, > Peter > > Sent from my iPhone. Apologies for typos and autocorruptions. > >> On 10 May 2021, at 16:48, Bernard Newnham via Tech1 >> wrote: >> >> ? I'm still hoping to have lunch at The Doggett's Coat and Badge on >> May 25th. It seems that the rules now are that you can book a table >> for six, so I've done that.? A table for six 1200-1400. >> >> Normally at these things we have between 30 and 40, which won't quite >> fit.??? So.....? If you fancy coming, please let me know, and the >> first five (or less) will be booked on the table. After that, you can >> book another table for six on the DCB website.? We could end up with >> two of us, or fill the place with sixer groups. >> >> How, or whether, this will work I don't know, but I want to give it a >> go. I've had enough of being stuck here, endlessly on Zoom. >> >> cheers >> >> B >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Wed May 12 11:00:58 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Wed, 12 May 2021 17:00:58 +0100 Subject: [Tech1] Disorganised, but not quite as much as usual In-Reply-To: <8a7fc83d-f7cc-380a-89ae-315551f82771@gmail.com> References: <8a7fc83d-f7cc-380a-89ae-315551f82771@gmail.com> Message-ID: Hoping to come but can?t confirm yet. Graeme Wall > On 12 May 2021, at 15:15, Bernard Newnham via Tech1 wrote: > > ? Hi Peter > > No - in fact you are number one. I've always said on these that a quorum is two, so maybe we are it! Perhaps people aren't ready to leave their nests yet, as are we get-up-and-go-people. > > We just need four more for our first table. > > cheers > > B > > > >> On 12/05/2021 13:06, Peter Neill wrote: >> Hi Bernie- I?ve only just seen this. I was getting so many emails from the group that I created a special folder and didn?t spot this one. I?m up for it. Have you got your six or do I need to start another group? >> Best, >> Peter >> >> Sent from my iPhone. Apologies for typos and autocorruptions. >> >>> On 10 May 2021, at 16:48, Bernard Newnham via Tech1 wrote: >>> >>> ? I'm still hoping to have lunch at The Doggett's Coat and Badge on May 25th. It seems that the rules now are that you can book a table for six, so I've done that. A table for six 1200-1400. >>> >>> Normally at these things we have between 30 and 40, which won't quite fit. So..... If you fancy coming, please let me know, and the first five (or less) will be booked on the table. After that, you can book another table for six on the DCB website. We could end up with two of us, or fill the place with sixer groups. >>> >>> How, or whether, this will work I don't know, but I want to give it a go. I've had enough of being stuck here, endlessly on Zoom. >>> >>> cheers >>> >>> B >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoff.hawkes134 at gmail.com Wed May 12 16:12:23 2021 From: geoff.hawkes134 at gmail.com (geoff.hawkes134 at gmail.com) Date: Wed, 12 May 2021 22:12:23 +0100 Subject: [Tech1] Eddie Stuart In-Reply-To: References: <603871800A6AF00E@sa-prd-rgout-005.btmx-prd.synchronoss.net> Message-ID: <000901d74773$80e10280$82a30780$@gmail.com> I was on crew 1 in April 1964 and Stan Appel was Senior Cameraman with Doug Routledge as his no. 2. We were doing Compact in TC2 on the ill-fated opening night of BBC2 when TC had to be evacuated due to power failure caused by the fire at Battersea Power Station. Stan went to head Crew 13 when it was formed (originally there was no crew 13 because that number was deemed bad luck) and Doug Routledge was promoted to Senior Cameraman of Crew 1. Geoff Hawkes From: Tech1 On Behalf Of dave.mdv via Tech1 Sent: 12 May 2021 12:59 To: angelamarks.t21 ; ,Tech1 >> tech1 Subject: Re: [Tech1] Eddie Stuart Many apologies, Angela, looking at my sound crew lists I can see that Eddie was SC on Crew 3 and Stan was SC on crew 13, at the same time in 1965/6. Eddie was replaced by Ron Peverall in early '66, came back for a short while in late '67 and then disappeared from my lists, being replaced by G.S.Nicholls by March 1968. Cheers, Dave On 11/05/2021 12:49, angelamarks.t21 wrote: It seems you are remembering someone else Dave. Ed was a trainee on Dave Hammonds Crew 7 before going to Crew 3 where he eventually became senior cameraman. He was never on a crew with Stan Appel. Sent from my Galaxy -------- Original message -------- From: patheigham via Tech1 Date: 11/05/21 12:06 (GMT+00:00) To: "dave.mdv" , tech1 Subject: Re: [Tech1] Eddie Stuart Update: I phoned Eddie last night ? he sounded good, at 88! So he?s still in the land of the living. He married Make-Up supervisor Cherry Alston, who succumbed to cancer, sadly. His present wife is Angela, but I?m not sure what her job was. Pat Sent from Mail for Windows 10 From: dave.mdv Sent: 09 May 2021 16:35 To: patheigham ; tech1 Subject: Re: [Tech1] Eddie Stuart Eddie was no.2 to Stan Appel and I well remember when he collapsed outside the TVT and his life was saved by one of the young ladies working on the show, so I'm glad to hear that he is still around! Cheers, Dave On 08/05/2021 11:16, patheigham via Tech1 wrote: Never knew Eddie Stuart as ?Piglet? ? I?m still in touch with him after all these years. Pat Sent from Mail for Windows 10 _____ This email has been checked for viruses by Avast antivirus software. www.avast.com -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ~WRD0000.jpg Type: image/jpeg Size: 823 bytes Desc: not available URL: From keithwicksuk at gmail.com Wed May 12 23:35:16 2021 From: keithwicksuk at gmail.com (Keith Wicks) Date: Thu, 13 May 2021 05:35:16 +0100 Subject: [Tech1] Disorganised In-Reply-To: <5e8e69b3-d639-5d84-f9ff-173529c5ef88@gmail.com> References: <5e8e69b3-d639-5d84-f9ff-173529c5ef88@gmail.com> Message-ID: I left a brief message about this for Don Smith (still no email) on his answering machine. I asked him to ring me if he wanted to attend, and I said I would pass on the message. So far, no response. KW On Mon, 10 May 2021 at 16:48, Bernard Newnham via Tech1 < tech1 at tech-ops.co.uk> wrote: > I'm still hoping to have lunch at The Doggett's Coat and Badge on May > 25th. It seems that the rules now are that you can book a table for six, so > I've done that. A table for six 1200-1400. > > Normally at these things we have between 30 and 40, which won't quite > fit. So..... If you fancy coming, please let me know, and the first > five (or less) will be booked on the table. After that, you can book > another table for six on the DCB website. We could end up with two of us, > or fill the place with sixer groups. > > How, or whether, this will work I don't know, but I want to give it a go. > I've had enough of being stuck here, endlessly on Zoom. > > cheers > > B > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Thu May 13 06:39:26 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Thu, 13 May 2021 12:39:26 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre Message-ID: Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 13 07:28:38 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 13 May 2021 13:28:38 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: Earliest I?ve got for TC1 is ?Story Parade: ?The Caves of Steel? on 06/07 May 1964, a couple of weeks after it opened. Quite a few ?Out of the Unknown? late in 1965, The Dick Emery Show, Play of the Month: ?Gordon of Khartoum?. The bigger sets for dramas and variety tended to do in there. Late February 1965 gives the following for an example week in the Theatre: Juke Box Jury, Jazz 625, Gadzooks, an unscreened TV pilot for the radio show ?Many a Slip?, Crackerjack, The Kathy Kirby Show, The B&W Minstrels. Later in the year there?s things like The Roy Castle Show and the Billy Cotton Music Hall. Hope that?s of some help. David From: David Taylor via Tech1 Sent: Thursday, May 13, 2021 12:39 PM To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Thu May 13 08:01:22 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Thu, 13 May 2021 14:01:22 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: David, Many thanks for that. Here's a photo of the TC1 desk: [image: 1969-BBC TC1 Sound Control Room-from bbc_monograph_78-1200px.jpg] The photo above of TC1 is from an investigation by the R&D Dept in 1969. The report was produced in response into criticisms of the monitoring in the BBC TVC control rooms, which stated it was 'coloured and tunnelly.' It does seem along time since TC1's installation in 1964 though, during which the studio produced some fantastic sounding programmes. They focussed on adjusting the height of the hung LS5/2 speaker and although the best sound was having it floor mounted, that was not consider applicable here, so it was lowered until it was just above the picture monitors and obviously pivoted forward a bit. *"The degradation in quality observed when a high-quality monitoring loudspeaker is used in a reflecting corner is satisfactorily explained by interference between the direct sound and that reflected by the surfaces forming the corner."* This photo also shows how, when TVC was built, it was still considered important to have a view into the studio....even if most of what you see here are lighting hoists! The window to the right looked into the Production gallery. Anyone any memories of these criticisms? David T On Thu, 13 May 2021 at 13:28, David Brunt wrote: > Earliest I?ve got for TC1 is ?Story Parade: ?The Caves of Steel? on 06/07 > May 1964, a couple of weeks after it opened. Quite a few ?Out of the > Unknown? late in 1965, The Dick Emery Show, Play of the Month: ?Gordon of > Khartoum?. The bigger sets for dramas and variety tended to do in there. > > Late February 1965 gives the following for an example week in the Theatre: > Juke Box Jury, Jazz 625, Gadzooks, an unscreened TV pilot for the radio > show ?Many a Slip?, Crackerjack, The Kathy Kirby Show, The B&W Minstrels. > Later in the year there?s things like The Roy Castle Show and the Billy > Cotton Music Hall. > > Hope that?s of some help. > > David > > > *From:* David Taylor via Tech1 > *Sent:* Thursday, May 13, 2021 12:39 PM > *To:* Tech-Ops-chit-chat > *Subject:* [Tech1] Early shows in TC1 and TV Theatre > > Hi all, > Would you guys be able to give me some names of programmes that were made > in TC1 in the first few years after it opened in 1964 as I'm still > researching what the the Pye sound desks were being used for. Also what was > being made in the TV Theatre around the same time as the desk must also > have been the Pye by then. I'll hunt and see if I can find an videos I > think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne > Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. > That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I > love the C-28 with the long VR tube seen hanging from the grid in order to > cover Dizzie's 'bent' trumpet bell. > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, > the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he > usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, > being boots an' all into Bill Evans and the MJQ). Len and I would > occasionally traipse along to Ronnie Scott's where I got to see and hear, > closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a > svelte Oscar Petersen et al. unaffectedly doing their sets - all this > before the glitter-pimps of pop-promotion helped to raise such modest and > understated performers from mere mortals to super-celebrity. Sometimes > Scott would spontaneously join them in a ensemble number or two, pumping > away on his tenor sax. All wonderfully laid-back and matter of fact." > > Thanks again > David T. > > ------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1969-BBC TC1 Sound Control Room-from bbc_monograph_78-1200px.jpg Type: image/jpeg Size: 1439057 bytes Desc: not available URL: From davesound at btinternet.com Thu May 13 08:06:29 2021 From: davesound at btinternet.com (Dave Plowman) Date: Thu, 13 May 2021 14:06:29 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <592bfb9b06davesound@btinternet.com> In article , David Brunt via Tech1 wrote: > Late February 1965 gives the following for an example week in the > Theatre: Juke Box Jury, Jazz 625, Gadzooks, an unscreened TV pilot for > the radio show ?Many a Slip?, Crackerjack, The Kathy Kirby Show, The B&W > Minstrels. Later in the year there?s things like The Roy Castle Show > and the Billy Cotton Music Hall. TV Theatre was used at least once for Blue Peter. As Biddy wanted a perfect cyc. And at TC, you got what you were given - sometimes rather tatty. The TVT one was permanent, so in good condition. Did sound rather odd though - that theatre acoustic. Even with the PA system off. -- Dave Plowman dave at davesound.co.uk London SW 12 From pat.heigham at amps.net Thu May 13 08:32:40 2021 From: pat.heigham at amps.net (patheigham) Date: Thu, 13 May 2021 14:32:40 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <609d2a79.1c69fb81.ac319.c515@mx.google.com> TVT >From Crew 3 days 1962-63: B & W Minstrels (until it transferred to TC1 in colour) Billy Cotton Band Show Crackerjack Pops & Lenny Faces of Jim (Jimmy Edwards) Jazz 625 (Woody Herman) (Len on Pye desk) TC1 B & W Minstrels Ballet Programme ?Enigma Variations? Take A Sapphire (I think ? not sure) Unable to fix dates ? maybe the BBC Genome site could help? The second time Hugh did Duke Ellington was in TC4 ? 1964. (I have a first generation ??, now transferred to CD). Apologies for rusty memory! Pat Sent from Mail for Windows 10 From: David Taylor via Tech1 Sent: 13 May 2021 12:39 To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell.? Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity.? Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Thu May 13 08:35:04 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Thu, 13 May 2021 14:35:04 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: <609d2a79.1c69fb81.ac319.c515@mx.google.com> References: <609d2a79.1c69fb81.ac319.c515@mx.google.com> Message-ID: Pat, I'd love a copy of the 1964 Duke Ellington CD! David T On Thu, 13 May 2021 at 14:32, patheigham wrote: > *TVT* > > From Crew 3 days 1962-63: > > B & W Minstrels (until it transferred to TC1 in colour) > > Billy Cotton Band Show > > Crackerjack > > Pops & Lenny > > Faces of Jim (Jimmy Edwards) > > Jazz 625 (Woody Herman) (Len on Pye desk) > > > > *TC1* > > B & W Minstrels > > Ballet Programme ?Enigma Variations? > > Take A Sapphire (I think ? not sure) > > > > Unable to fix dates ? maybe the BBC Genome site could help? > > > > The second time Hugh did Duke Ellington was in TC4 ? 1964. > > (I have a first generation ??, now transferred to CD). > > > > Apologies for rusty memory! > > Pat > > > > Sent from Mail for > Windows 10 > > > > *From: *David Taylor via Tech1 > *Sent: *13 May 2021 12:39 > *To: *Tech-Ops-chit-chat > *Subject: *[Tech1] Early shows in TC1 and TV Theatre > > > > Hi all, > > Would you guys be able to give me some names of programmes that were made > in TC1 in the first few years after it opened in 1964 as I'm still > researching what the the Pye sound desks were being used for. Also what was > being made in the TV Theatre around the same time as the desk must also > have been the Pye by then. I'll hunt and see if I can find an videos I > think. > > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne > Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. > That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I > love the C-28 with the long VR tube seen hanging from the grid in order to > cover Dizzie's 'bent' trumpet bell. > > > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, > the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he > usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, > being boots an' all into Bill Evans and the MJQ). Len and I would > occasionally traipse along to Ronnie Scott's where I got to see and hear, > closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a > svelte Oscar Petersen et al. unaffectedly doing their sets - all this > before the glitter-pimps of pop-promotion helped to raise such modest and > understated performers from mere mortals to super-celebrity. Sometimes > Scott would spontaneously join them in a ensemble number or two, pumping > away on his tenor sax. All wonderfully laid-back and matter of fact." > > > > Thanks again > > David T. > > > > > > > ------------------------------ > [image: Avast logo] > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > <#m_-9089357969389078461_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From hughsheppard at btinternet.com Thu May 13 08:38:24 2021 From: hughsheppard at btinternet.com (Hugh Sheppard) Date: Thu, 13 May 2021 14:38:24 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <36c60cb2-cfdb-364f-e34b-74109278af10@btinternet.com> TV Theatre was a regular venue for Crew 6 in the early '60s: What's My Line; Charlie Drake; Rolf Harris and almost anything produced by Dickie Afton. (So check Genome). Definitely Johnny Dankworth and Cleo Lane - maybe produced by Biil Cotton Jr. with Michael Hurll as his call-boy - or should I say AFM? Hugh On 13-May-21 12:39 PM, David Taylor via Tech1 wrote: > Hi all, > Would you guys be able to give me some names of programmes that were > made in TC1 in the first few years after it opened in 1964 as I'm > still researching what the the Pye sound desks were being used for. > Also what was being made in the TV Theatre around the same time as the > desk must also have been the Pye by then. I'll hunt and see if I can > find an videos I think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne > Littlewood directing as Terry Henebery wasn't yet a 'qualified' > director. That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy > of. I love the C-28 with the long VR tube seen hanging from the grid > in order to cover Dizzie's 'bent' trumpet bell. > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram > op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. > he usually mixed Jazz 625 - (as was Bish - a man of elegant > appreciations, being boots an' all into Bill Evans and the MJQ). Len > and I would occasionally traipse along to Ronnie Scott's where I got > to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, > Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing > their sets - all this before the glitter-pimps of pop-promotion helped > to raise such modest and understated performers from mere mortals to > super-celebrity.? Sometimes Scott would spontaneously join them in a > ensemble number or two, pumping away on his tenor sax. All wonderfully > laid-back and matter of fact." > > Thanks again > David T. > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoff.hawkes134 at gmail.com Thu May 13 08:54:57 2021 From: geoff.hawkes134 at gmail.com (geoff.hawkes134 at gmail.com) Date: Thu, 13 May 2021 14:54:57 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <00ce01d747ff$8f3fe1c0$adbfa540$@gmail.com> One of the memorable shows I worked on in the days soon after TC1 opened (circa 1964) was a musical, The American Civil War. It employed crews 2 & 3 with Eddie Stuart on the Transatlantic crane and Frank Wilkins on a Mole crane. It was directed by the irascible Buddy Bregman whose constant term of abuse for anyone was to call them ?schmuckhead?. Another was of Stravinsky?s ballet The Firebird. I was on cameras and don?t know who the Sound Supervisor?s were, Geoff Hawkes From: Tech1 On Behalf Of David Taylor via Tech1 Sent: 13 May 2021 12:39 To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------- next part -------------- An HTML attachment was scrubbed... URL: From j at howell61.f9.co.uk Thu May 13 10:12:13 2021 From: j at howell61.f9.co.uk (John Howell) Date: Thu, 13 May 2021 16:12:13 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <3eded74c-d327-c1ed-2c6b-d464fcf1e10c@howell61.f9.co.uk> Hello David, Some dates for your TC1 diary:- 5 April 1964 "Exercise" Possibly Proving Trials prior to the first "real" programme, Sound Sup.Norman Greaves. 20-22 May 1964 "Festival"? SS DMT. 27-29 May "The Ides of March" SS DMT Director Maomi Capon. 30-31 December 1964 " Inside '64 " SS George Prince (a review of the year?). 2 January 1965 Orchestra rehearsal for "Gala Performance" SS Adrian 'Yogi' Stocks. My next visit to TC1 was a year later so not much use to you? All the best, John. On 13/05/2021 13:28, David Brunt via Tech1 wrote: > Earliest I?ve got for TC1 is ?Story Parade: ?The Caves of Steel? on > 06/07 May 1964, a couple of weeks after it opened.? Quite a few ?Out > of the Unknown? late in 1965, The Dick Emery Show, Play of the Month: > ?Gordon of Khartoum?. The bigger sets for dramas and variety tended to > do in there. > > Late February 1965 gives the following for an example week in the > Theatre: Juke Box Jury, Jazz 625, Gadzooks, an unscreened TV pilot for > the radio show ?Many a Slip?, Crackerjack, The Kathy Kirby Show, The > B&W Minstrels. Later in the year there?s things like The Roy Castle > Show and the Billy Cotton Music Hall. > > Hope that?s of some help. > > David > > *From:* David Taylor via Tech1 > *Sent:* Thursday, May 13, 2021 12:39 PM > *To:* Tech-Ops-chit-chat > *Subject:* [Tech1] Early shows in TC1 and TV Theatre > Hi all, > Would you guys be able to give me some names of programmes that were > made in TC1 in the first few years after it opened in 1964 as I'm > still researching what the the Pye sound desks were being used for. > Also what was being made in the TV Theatre around the same time as the > desk must also have been the Pye by then. I'll hunt and see if I can > find an videos I think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne > Littlewood directing as Terry Henebery wasn't yet a 'qualified' > director. That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy > of. I love the C-28 with the long VR tube seen hanging from the grid > in order to cover Dizzie's 'bent' trumpet bell. > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram > op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. > he usually mixed Jazz 625 - (as was Bish - a man of elegant > appreciations, being boots an' all into Bill Evans and the MJQ). Len > and I would occasionally traipse along to Ronnie Scott's where I got > to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, > Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing > their sets - all this before the glitter-pimps of pop-promotion helped > to raise such modest and understated performers from mere mortals to > super-celebrity.? Sometimes Scott would spontaneously join them in a > ensemble number or two, pumping away on his tenor sax. All wonderfully > laid-back and matter of fact." > > Thanks again > David T. > > ------------------------------------------------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Thu May 13 10:38:23 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Thu, 13 May 2021 16:38:23 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. Disconnected jottings but quite a mix. Dave Newbitt. From: David Taylor via Tech1 Sent: Thursday, May 13, 2021 12:39 PM To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Thu May 13 10:41:54 2021 From: davesound at btinternet.com (Dave Plowman) Date: Thu, 13 May 2021 16:41:54 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: Message-ID: <592c09d47fdavesound@btinternet.com> Having two large reflective surfaces (windows) just behind the speaker does it no favours at all. But then the LS5/1 was notorious for inconsistency. A reason they were hopeless for stereo. In article , David Taylor via Tech1 wrote: > David, > Many thanks for that. > Here's a photo of the TC1 desk: > [image: 1969-BBC TC1 Sound Control Room-from bbc_monograph_78-1200px.jpg] > The photo above of TC1 is from an investigation by the R&D Dept in 1969. > The report was produced in response into criticisms of the monitoring in > the BBC TVC control rooms, which stated it was 'coloured and tunnelly.' It > does seem along time since TC1's installation in 1964 though, during which > the studio produced some fantastic sounding programmes. > They focussed on adjusting the height of the hung LS5/2 speaker and > although the best sound was having it floor mounted, that was not consider > applicable here, so it was lowered until it was just above the picture > monitors and obviously pivoted forward a bit. *"The degradation in quality > observed when a high-quality monitoring loudspeaker is used in a reflecting > corner is satisfactorily explained by interference between the direct sound > and that reflected by the surfaces forming the corner."* > This photo also shows how, when TVC was built, it was still considered > important to have a view into the studio....even if most of what you see > here are lighting hoists! The window to the right looked into the > Production gallery. > Anyone any memories of these criticisms? > David T > On Thu, 13 May 2021 at 13:28, David Brunt wrote: > > Earliest I?ve got for TC1 is ?Story Parade: ?The Caves of Steel? on 06/07 > > May 1964, a couple of weeks after it opened. Quite a few ?Out of the > > Unknown? late in 1965, The Dick Emery Show, Play of the Month: ?Gordon of > > Khartoum?. The bigger sets for dramas and variety tended to do in there. > > > > Late February 1965 gives the following for an example week in the Theatre: > > Juke Box Jury, Jazz 625, Gadzooks, an unscreened TV pilot for the radio > > show ?Many a Slip?, Crackerjack, The Kathy Kirby Show, The B&W Minstrels. > > Later in the year there?s things like The Roy Castle Show and the Billy > > Cotton Music Hall. > > > > Hope that?s of some help. > > > > David > > > > > > *From:* David Taylor via Tech1 > > *Sent:* Thursday, May 13, 2021 12:39 PM > > *To:* Tech-Ops-chit-chat > > *Subject:* [Tech1] Early shows in TC1 and TV Theatre > > > > Hi all, > > Would you guys be able to give me some names of programmes that were made > > in TC1 in the first few years after it opened in 1964 as I'm still > > researching what the the Pye sound desks were being used for. Also what was > > being made in the TV Theatre around the same time as the desk must also > > have been the Pye by then. I'll hunt and see if I can find an videos I > > think. > > > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne > > Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. > > That was a Hugh Barker show I believe. > > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I > > love the C-28 with the long VR tube seen hanging from the grid in order to > > cover Dizzie's 'bent' trumpet bell. > > > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, > > the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he > > usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, > > being boots an' all into Bill Evans and the MJQ). Len and I would > > occasionally traipse along to Ronnie Scott's where I got to see and hear, > > closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a > > svelte Oscar Petersen et al. unaffectedly doing their sets - all this > > before the glitter-pimps of pop-promotion helped to raise such modest and > > understated performers from mere mortals to super-celebrity. Sometimes > > Scott would spontaneously join them in a ensemble number or two, pumping > > away on his tenor sax. All wonderfully laid-back and matter of fact." > > > > Thanks again > > David T. > > > > ------------------------------ > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > -- Dave Plowman dave at davesound.co.uk London SW 12 From davidvbrunt at gmail.com Thu May 13 11:06:42 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 13 May 2021 17:06:42 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> Message-ID: Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f ?Something Special? was broadcast from January 1967. https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search From: David Newbitt via Tech1 Sent: Thursday, May 13, 2021 4:38 PM To: David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Early shows in TC1 and TV Theatre For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. Disconnected jottings but quite a mix. Dave Newbitt. From: David Taylor via Tech1 Sent: Thursday, May 13, 2021 12:39 PM To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Thu May 13 11:32:39 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Thu, 13 May 2021 17:32:39 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> Message-ID: Thanks David, clearly you must be correct ? a late name change, perhaps to avoid confusion with the veteran series I mentioned. I certainly remember working the Kenneth Williams series but hadn?t connected the two situations. The Something Special I mentioned was recorded at the TVT on 22nd Aug 1966 so unless that was a non-transmitted ?pilot? there was quite a gap to your documented first broadcast of Jan 1967. Assuming the episode was the Johhny Mathis one, overseas artist availability might well have been a factor. Looking again at my diary entry my appalling writing however leaves some doubt as to whether it was TVT. Dave Newbitt From: David Brunt Sent: Thursday, May 13, 2021 5:06 PM To: David Newbitt ; David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Early shows in TC1 and TV Theatre Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f ?Something Special? was broadcast from January 1967. https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search From: David Newbitt via Tech1 Sent: Thursday, May 13, 2021 4:38 PM To: David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Early shows in TC1 and TV Theatre For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. Disconnected jottings but quite a mix. Dave Newbitt. From: David Taylor via Tech1 Sent: Thursday, May 13, 2021 12:39 PM To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Thu May 13 12:19:27 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Thu, 13 May 2021 18:19:27 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> Message-ID: <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> Five months doesn?t seem that long to keep a recorded show on the shelf now ? even by five or six years later things like ?In Concert? could take a full year to reach screen. I don?t know how far ahead things were being banked in 1966. Maybe music and variety had longer lead times? From: David Newbitt Sent: Thursday, May 13, 2021 5:32 PM To: David Brunt ; David Taylor ; Tech-Ops-chit-chat Cc: dnewbitt at fireflyuk.net Subject: Re: [Tech1] Early shows in TC1 and TV Theatre Thanks David, clearly you must be correct ? a late name change, perhaps to avoid confusion with the veteran series I mentioned. I certainly remember working the Kenneth Williams series but hadn?t connected the two situations. The Something Special I mentioned was recorded at the TVT on 22nd Aug 1966 so unless that was a non-transmitted ?pilot? there was quite a gap to your documented first broadcast of Jan 1967. Assuming the episode was the Johhny Mathis one, overseas artist availability might well have been a factor. Looking again at my diary entry my appalling writing however leaves some doubt as to whether it was TVT. Dave Newbitt From: David Brunt Sent: Thursday, May 13, 2021 5:06 PM To: David Newbitt ; David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Early shows in TC1 and TV Theatre Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f ?Something Special? was broadcast from January 1967. https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search From: David Newbitt via Tech1 Sent: Thursday, May 13, 2021 4:38 PM To: David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Early shows in TC1 and TV Theatre For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. Disconnected jottings but quite a mix. Dave Newbitt. From: David Taylor via Tech1 Sent: Thursday, May 13, 2021 12:39 PM To: Tech-Ops-chit-chat Subject: [Tech1] Early shows in TC1 and TV Theatre Hi all, Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." Thanks again David T. -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Thu May 13 14:07:29 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Thu, 13 May 2021 20:07:29 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> Message-ID: Here from my diaries is a list of TC1 and TVT productions I worked on in 1965. Geoff F > On 13 May 2021, at 18:19, David Brunt via Tech1 wrote: > > Five months doesn?t seem that long to keep a recorded show on the shelf now ? even by five or six years later things like ?In Concert? could take a full year to reach screen. > > I don?t know how far ahead things were being banked in 1966. Maybe music and variety had longer lead times? > > > > > From: David Newbitt > Sent: Thursday, May 13, 2021 5:32 PM > To: David Brunt ; David Taylor ; Tech-Ops-chit-chat > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Thanks David, clearly you must be correct ? a late name change, perhaps to avoid confusion with the veteran series I mentioned. I certainly remember working the Kenneth Williams series but hadn?t connected the two situations. > > The Something Special I mentioned was recorded at the TVT on 22nd Aug 1966 so unless that was a non-transmitted ?pilot? there was quite a gap to your documented first broadcast of Jan 1967. Assuming the episode was the Johhny Mathis one, overseas artist availability might well have been a factor. Looking again at my diary entry my appalling writing however leaves some doubt as to whether it was TVT. > > Dave Newbitt > > From: David Brunt <> > Sent: Thursday, May 13, 2021 5:06 PM > To: David Newbitt <> ; David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? > > https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f > > ?Something Special? was broadcast from January 1967. > > https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search > > > > > From: David Newbitt via Tech1 <> > Sent: Thursday, May 13, 2021 4:38 PM > To: David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. > > In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. > > There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. > > I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. > > In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. > > Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. > > Disconnected jottings but quite a mix. > > Dave Newbitt. > > From: David Taylor via Tech1 <> > Sent: Thursday, May 13, 2021 12:39 PM > To: Tech-Ops-chit-chat <> > Subject: [Tech1] Early shows in TC1 and TV Theatre > > Hi all, > Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." > > Thanks again > David T. > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 1965 - TC1 and TV Theatre Productions.jpeg Type: image/jpeg Size: 60475 bytes Desc: not available URL: From geoffletch at gmail.com Thu May 13 14:10:42 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Thu, 13 May 2021 20:10:42 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> Message-ID: Are you interested in 1966,67,68 69 and 70? Geoff F > On 13 May 2021, at 18:19, David Brunt via Tech1 wrote: > > Five months doesn?t seem that long to keep a recorded show on the shelf now ? even by five or six years later things like ?In Concert? could take a full year to reach screen. > > I don?t know how far ahead things were being banked in 1966. Maybe music and variety had longer lead times? > > > > > From: David Newbitt > Sent: Thursday, May 13, 2021 5:32 PM > To: David Brunt ; David Taylor ; Tech-Ops-chit-chat > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Thanks David, clearly you must be correct ? a late name change, perhaps to avoid confusion with the veteran series I mentioned. I certainly remember working the Kenneth Williams series but hadn?t connected the two situations. > > The Something Special I mentioned was recorded at the TVT on 22nd Aug 1966 so unless that was a non-transmitted ?pilot? there was quite a gap to your documented first broadcast of Jan 1967. Assuming the episode was the Johhny Mathis one, overseas artist availability might well have been a factor. Looking again at my diary entry my appalling writing however leaves some doubt as to whether it was TVT. > > Dave Newbitt > > From: David Brunt <> > Sent: Thursday, May 13, 2021 5:06 PM > To: David Newbitt <> ; David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? > > https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f > > ?Something Special? was broadcast from January 1967. > > https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search > > > > > From: David Newbitt via Tech1 <> > Sent: Thursday, May 13, 2021 4:38 PM > To: David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. > > In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. > > There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. > > I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. > > In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. > > Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. > > Disconnected jottings but quite a mix. > > Dave Newbitt. > > From: David Taylor via Tech1 <> > Sent: Thursday, May 13, 2021 12:39 PM > To: Tech-Ops-chit-chat <> > Subject: [Tech1] Early shows in TC1 and TV Theatre > > Hi all, > Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." > > Thanks again > David T. > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Thu May 13 14:28:06 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Thu, 13 May 2021 20:28:06 +0100 Subject: [Tech1] Early shows in TC1 and TV Theatre In-Reply-To: <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> References: <29888111D6C24D84ADCAEFF7FA1C3158@DESKTOP6GGCRV1> <7F693691B8864EDCA52545F7EBFE6E23@0023242e4e14> Message-ID: <4E3836D8-B962-45B7-B444-4125FE0C3769@gmail.com> I was away on TO19 for several months in 1964. However, I listed in my di`ry the following productions I worked on in TC1. Best Of Both Worlds on 16/8/64, Cemented With Love on 3-4/12/64 Inside ?64 on 31/12/64. I did one prog at TV Theatre - First Impressions on 8/12/64. Geoff F > On 13 May 2021, at 18:19, David Brunt via Tech1 wrote: > > Five months doesn?t seem that long to keep a recorded show on the shelf now ? even by five or six years later things like ?In Concert? could take a full year to reach screen. > > I don?t know how far ahead things were being banked in 1966. Maybe music and variety had longer lead times? > > > > > From: David Newbitt > Sent: Thursday, May 13, 2021 5:32 PM > To: David Brunt ; David Taylor ; Tech-Ops-chit-chat > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Thanks David, clearly you must be correct ? a late name change, perhaps to avoid confusion with the veteran series I mentioned. I certainly remember working the Kenneth Williams series but hadn?t connected the two situations. > > The Something Special I mentioned was recorded at the TVT on 22nd Aug 1966 so unless that was a non-transmitted ?pilot? there was quite a gap to your documented first broadcast of Jan 1967. Assuming the episode was the Johhny Mathis one, overseas artist availability might well have been a factor. Looking again at my diary entry my appalling writing however leaves some doubt as to whether it was TVT. > > Dave Newbitt > > From: David Brunt <> > Sent: Thursday, May 13, 2021 5:06 PM > To: David Newbitt <> ; David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > Those ?Cafe continental? recordings were the first two for Kenneth Williams? ?International Cabaret?. The 5th July date was given in his Diaries. Perhaps a late name change? > > https://genome.ch.bbc.co.uk/4bd009be752a4f0b8504f7a243e7352f > > ?Something Special? was broadcast from January 1967. > > https://genome.ch.bbc.co.uk/search/0/20?adv=1&media=tv&order=asc&q=%22something+special%22&yf=1967&yt=1970#search > > > > > From: David Newbitt via Tech1 <> > Sent: Thursday, May 13, 2021 4:38 PM > To: David Taylor <> ; Tech-Ops-chit-chat <> > Subject: Re: [Tech1] Early shows in TC1 and TV Theatre > > For some reason I am missing my diaries from 1962 ? 1965 but extract the following from 1966. > > In TVT the first 1966 entry I have was a Joyce Grenfell show on 4th Jan mixed by Brian Forgham (Show of the week). Under this banner Brian also mixed Kathy Kirby and several others, with Len Shorey well to the fore with Vikki Carr and other notables and on one of the Pet Clark shows Derek Miller Timmins was at the helm. From early in the year the B & W minstrels (Yogi Stocks) and Crackerjack (Dickie Chamberlain) were staple fare. > > There was the ?A song for everyone? series with Kenneth McKellar mixed by Len, the ?Frost Report? pilot and series mixed by Bish. The ?Tonight in Person? series was in the mix with many star names of the period, at least one mixed by Brian Forgham. There was the ?Cabaret? series mixed by both Len & Bish and on one occasion in September by Brian Hiles. > > I see my record of at least two TVT productions of ?Cafe Continental? (not to be confused with the late 40?s ?50?s series) mixed by Len on 4th/5th July and 11th/12th July which I can find no reference to anywhere other than my diary. Hugh Barker mixed a ?Something Special? on Aug 22nd. Other performers I see were Los Paraguayos and Al Read. > > In TC1 on 16th Jan was the evergreen ?Not only but Also...? with Len at the desk; on Jan 20th was ?Take a Pair of Private Eyes? (Derek Fowlds, Jeanne Rowland, Sam Kydd etc.); event of the year 29th Mar ? 1st Apr General Election coverage. I worked days 1, 3 & 4 scheduled a 14 hr day on 31st Mar and a 15 hour on 1st Apr. > > Soon after ?Adam Adamant? with Dickie Chamberlain was a TC1 production and later in the year a ?Something Special? with Len Shorey again. > > Disconnected jottings but quite a mix. > > Dave Newbitt. > > From: David Taylor via Tech1 <> > Sent: Thursday, May 13, 2021 12:39 PM > To: Tech-Ops-chit-chat <> > Subject: [Tech1] Early shows in TC1 and TV Theatre > > Hi all, > Would you guys be able to give me some names of programmes that were made in TC1 in the first few years after it opened in 1964 as I'm still researching what the the Pye sound desks were being used for. Also what was being made in the TV Theatre around the same time as the desk must also have been the Pye by then. I'll hunt and see if I can find an videos I think. > > The first Jazz 625 with Duke Ellington was at TV Theatre with Yvonne Littlewood directing as Terry Henebery wasn't yet a 'qualified' director. That was a Hugh Barker show I believe. > I see Len Shorey did the Dizzy Gillespie Jazz 625 that I have a copy of. I love the C-28 with the long VR tube seen hanging from the grid in order to cover Dizzie's 'bent' trumpet bell. > > Ex BBC soundman Keith Warren recently told me: "Bish was then a gram op, the ever-courtly beanpole, Len Shorey, was deeply into jazz - e.g. he usually mixed Jazz 625 - (as was Bish - a man of elegant appreciations, being boots an' all into Bill Evans and the MJQ). Len and I would occasionally traipse along to Ronnie Scott's where I got to see and hear, closeup, Ella Fitzgerald, Kai Winding, J J Johnson, Wes Montgomery, a svelte Oscar Petersen et al. unaffectedly doing their sets - all this before the glitter-pimps of pop-promotion helped to raise such modest and understated performers from mere mortals to super-celebrity. Sometimes Scott would spontaneously join them in a ensemble number or two, pumping away on his tenor sax. All wonderfully laid-back and matter of fact." > > Thanks again > David T. > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Fri May 14 04:47:27 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Fri, 14 May 2021 10:47:27 +0100 Subject: [Tech1] Fwd: Stuart in action In-Reply-To: References: Message-ID: FYI - young Stuart with a young Guy Michelmore and a young VM, Sue Brincat. https://youtu.be/-S56mRLVfaw -------------- next part -------------- An HTML attachment was scrubbed... URL: From ian.norman at armoor.co.uk Fri May 14 04:56:54 2021 From: ian.norman at armoor.co.uk (Ian Norman) Date: Fri, 14 May 2021 10:56:54 +0100 Subject: [Tech1] Fwd: Stuart in action In-Reply-To: References: Message-ID: <85c34801-bc8c-2ab0-af47-d302afb36ceb@armoor.co.uk> Dear Bernie, Thank you! Never seen it before and an excellent reminder of Stuart. Stay safe Ian Norman Email: mailto:ian.norman at armoor.co.uk Telephone: 01643 888181 On 14/05/2021 10:47, Bernard Newnham via Tech1 wrote: > > > FYI - young Stuart with a young Guy Michelmore and a young VM, Sue Brincat. > > > https://youtu.be/-S56mRLVfaw > From grahamthecameraman at icloud.com Fri May 14 06:02:39 2021 From: grahamthecameraman at icloud.com (Graham Maunder) Date: Fri, 14 May 2021 12:02:39 +0100 Subject: [Tech1] Fwd: Stuart in action In-Reply-To: References: Message-ID: <50D74606-01B0-41C1-A300-1F9D894ED4DD@icloud.com> Excellent piece and a reminder of what a great person Stuart was. RIP. Graham Maunder Awfully Nice Video . 30 Long Lane . Ickenham . London . UB10 8TA Tel: 07000 345678 Mobile: 07831 515678 Visit Us: www.anvc.tv > On 14 May 2021, at 10:47, Bernard Newnham via Tech1 wrote: > > > > FYI - young Stuart with a young Guy Michelmore and a young VM, Sue Brincat. > > > https://youtu.be/-S56mRLVfaw > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: anvc-logo-mail-small.jpg Type: image/jpeg Size: 14651 bytes Desc: not available URL: From vernon.dyer at btinternet.com Fri May 14 15:00:54 2021 From: vernon.dyer at btinternet.com (vernon.dyer) Date: Fri, 14 May 2021 21:00:54 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' Message-ID: Just watching part of this (8-9pm 14-5-21):It consists mostly of TOTP clips from the 80s & 90s so was obviously 4x3.? For 16x9 tx they've just taken the middle of frame, so the singer's head is out of frame much of the time!? Did anyone notice when the programme was compiled?? Does anyone care?We deserve better.?Best wishes? .....? Vernon Dyer?Sent from my Samsung Galaxy smartphone. -------------- next part -------------- An HTML attachment was scrubbed... URL: From vernon.dyer at btinternet.com Fri May 14 15:09:42 2021 From: vernon.dyer at btinternet.com (vernon.dyer) Date: Fri, 14 May 2021 21:09:42 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' Message-ID: <5ba6xifbleodmhwks3y3ns11.1621022982046@email.android.com> Sent from my Samsung Galaxy smartphone.-------- Original message --------From: "vernon.dyer via Tech1" Date: 14/05/2021 21:00 (GMT+00:00) To: tech1 at tech-ops.co.uk Subject: [Tech1] BBC 4 'Ultimate Cover Versions' Just watching part of this (8-9pm 14-5-21):It consists mostly of TOTP clips from the 80s & 90s so was obviously 4x3.? For 16x9 tx they've just taken the middle of frame, so the singer's head is out of frame much of the time!? Did anyone notice when the programme was compiled?? Does anyone care?We deserve better.?Best wishes? .....? Vernon Dyer?PS -?Following prog: 'TOTP 1990' in 4x3 with black sides: fine, why not?Sent from my Samsung Galaxy smartphone. -------------- next part -------------- An HTML attachment was scrubbed... URL: From mibridge at mac.com Fri May 14 17:26:40 2021 From: mibridge at mac.com (Mike Giles) Date: Fri, 14 May 2021 23:26:40 +0100 Subject: [Tech1] Stuart in action In-Reply-To: <50D74606-01B0-41C1-A300-1F9D894ED4DD@icloud.com> References: <50D74606-01B0-41C1-A300-1F9D894ED4DD@icloud.com> Message-ID: <3C1F8FAC-55B0-48C0-8AD5-B497C8195B34@mac.com> I have to retract my previous retraction, as this is after all the Stuart McDonald I remember working with, but a previous photo persuaded me otherwise! Mike G > On 14 May 2021, at 12:02, Graham Maunder via Tech1 wrote: > > Excellent piece and a reminder of what a great person Stuart was. RIP. > > Graham Maunder > Awfully Nice Video . 30 Long Lane . Ickenham . London . UB10 8TA > Tel: 07000 345678 Mobile: 07831 515678 Visit Us: www.anvc.tv > >> On 14 May 2021, at 10:47, Bernard Newnham via Tech1 > wrote: >> >> >> >> FYI - young Stuart with a young Guy Michelmore and a young VM, Sue Brincat. >> >> >> https://youtu.be/-S56mRLVfaw >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alawrance1 at me.com Sat May 15 02:34:50 2021 From: alawrance1 at me.com (Alasdair Lawrance) Date: Sat, 15 May 2021 08:34:50 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' In-Reply-To: References: Message-ID: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> My response to that is along the lines of - "Would you cut Shakespeare's words if the speech wouldn't fit on the page?" I find it incredibly annoying/careless/ ignorant/lazy when most of us tried very hard to get it right. Remember trying to get headroom to match if it was going to 16mm telerecording, and different again for 35mm? And then some 20 year old with spiky hair decides to make everything the same, because "the viewer wants a full frame?" Alasdair Lawrance Don?t blame me, I voted Remain. > On 14 May 2021, at 21:01, vernon.dyer via Tech1 wrote: > > ? > Just watching part of this (8-9pm 14-5-21): > > It consists mostly of TOTP clips from the 80s & 90s so was obviously 4x3. For 16x9 tx they've just taken the middle of frame, so the singer's head is out of frame much of the time! Did anyone notice when the programme was compiled? Does anyone care? > > We deserve better. > > Best wishes ..... Vernon Dyer > > > > Sent from my Samsung Galaxy smartphone. > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From hughsheppard at btinternet.com Sat May 15 03:01:31 2021 From: hughsheppard at btinternet.com (Hugh Sheppard) Date: Sat, 15 May 2021 09:01:31 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' In-Reply-To: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> References: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> Message-ID: <5432164c-29be-ad50-8042-169ddee542c6@btinternet.com> AND... Cutting the END CREDITS on iPlayer!!? An insult to the Producer etc. and to viewers who would also like to know the Date of the Programme! [That's a 'Show' for anyone under 50]. Hugh On 15-May-21 8:34 AM, Alasdair Lawrance via Tech1 wrote: > My response to that is along the lines of - > > "Would you cut Shakespeare's words if the speech wouldn't fit on the > page?" > > I find it incredibly annoying/careless/ ignorant/lazy when most of us > tried very hard to get it right. ?Remember trying to get headroom to > match if it was going to 16mm telerecording, and different again for 35mm? > > And then some 20 year old with spiky hair decides to make everything > the same, because "the viewer wants a full frame?" > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > >> On 14 May 2021, at 21:01, vernon.dyer via Tech1 >> wrote: >> >> ? >> Just watching part of this (8-9pm 14-5-21): >> >> It consists mostly of TOTP clips from the 80s & 90s so was obviously >> 4x3.? For 16x9 tx they've just taken the middle of frame, so the >> singer's head is out of frame much of the time!? Did anyone notice >> when the programme was compiled?? Does anyone care? >> >> We deserve better. >> >> Best wishes? .....? Vernon Dyer >> >> >> >> Sent from my Samsung Galaxy smartphone. >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sat May 15 05:26:59 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sat, 15 May 2021 11:26:59 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' In-Reply-To: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> References: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> Message-ID: <592cf4ad1fdavesound@btinternet.com> In article <3B8DC7B3-4401-41AD-9167-8FCC3FA88900 at me.com>, Alasdair Lawrance via Tech1 wrote: > And then some 20 year old with spiky hair decides to make everything the > same, because "the viewer wants a full frame?" "I paid a lot of money for this 65" telly, so want every inch of it filled at all times" -- Dave Plowman dave at davesound.co.uk London SW 12 From alawrance1 at me.com Sat May 15 06:17:59 2021 From: alawrance1 at me.com (Alasdair Lawrance) Date: Sat, 15 May 2021 12:17:59 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' In-Reply-To: <592cf4ad1fdavesound@btinternet.com> References: <3B8DC7B3-4401-41AD-9167-8FCC3FA88900@me.com> <592cf4ad1fdavesound@btinternet.com> Message-ID: Jokes aside, is it something we might bring up with the Alumni organiser? Having material in 4:3 is a valuable clue to its approximate date, although I'm not certain when 16:10 became the standard. (I think I'm right that DVD/Blu-ray feature film is 16:9 as a standard? Correct me if I'm wrong). Alasdair Lawrance alawrance1 at me.com Don?t blame me, I voted Remain. > On 15 May 2021, at 11:26, Dave Plowman via Tech1 wrote: > > In article <3B8DC7B3-4401-41AD-9167-8FCC3FA88900 at me.com>, > Alasdair Lawrance via Tech1 wrote: >> And then some 20 year old with spiky hair decides to make everything the >> same, because "the viewer wants a full frame?" > > "I paid a lot of money for this 65" telly, so want every inch of it filled > at all times" > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From paul at pgtmedia.co.uk Sat May 15 06:08:06 2021 From: paul at pgtmedia.co.uk (Paul Thackray) Date: Sat, 15 May 2021 12:08:06 +0100 Subject: [Tech1] BBC 4 'Ultimate Cover Versions' In-Reply-To: <5432164c-29be-ad50-8042-169ddee542c6@btinternet.com> Message-ID: An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Sat May 15 09:55:47 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Sat, 15 May 2021 15:55:47 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information Message-ID: Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. You were a busy lot in those days. I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? David T -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidvbrunt at gmail.com Sat May 15 10:11:22 2021 From: davidvbrunt at gmail.com (David Brunt) Date: Sat, 15 May 2021 16:11:22 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: Surely there were more than six? There were at least ten working BBC studios around London by then (four at TVC, three at the Grove, two at Riverside, and the Theatre). From: David Taylor via Tech1 Sent: Saturday, May 15, 2021 3:55 PM To: Tech-Ops-chit-chat Subject: [Tech1] Thanks for the TC1 and TVT information Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. You were a busy lot in those days. I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? David T -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Sat May 15 10:27:44 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sat, 15 May 2021 16:27:44 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: I think there were 11 crews when I joined in 1962. I vaguely remember that when Crew 13 was formed it was called the training crew but memory does play tricks with one. Dave Newbitt. From: David Brunt via Tech1 Sent: Saturday, May 15, 2021 4:11 PM To: David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Thanks for the TC1 and TVT information Surely there were more than six? There were at least ten working BBC studios around London by then (four at TVC, three at the Grove, two at Riverside, and the Theatre). From: David Taylor via Tech1 Sent: Saturday, May 15, 2021 3:55 PM To: Tech-Ops-chit-chat Subject: [Tech1] Thanks for the TC1 and TVT information Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. You were a busy lot in those days. I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? David T -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From peter.neill at icloud.com Sat May 15 10:28:33 2021 From: peter.neill at icloud.com (Peter Neill) Date: Sat, 15 May 2021 16:28:33 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: <89E6592B-4FE3-4E0E-B383-897C3AC2F8CB@icloud.com> When I joined in 1964, Mike (Paddington) Bond was Senior Cameraman on Crew 17. Peter Neill > On 15 May 2021, at 16:11, David Brunt via Tech1 wrote: > > Surely there were more than six? There were at least ten working BBC studios around London by then (four at TVC, three at the Grove, two at Riverside, and the Theatre). > > > From: David Taylor via Tech1 > Sent: Saturday, May 15, 2021 3:55 PM > To: Tech-Ops-chit-chat > Subject: [Tech1] Thanks for the TC1 and TVT information > > Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. > You were a busy lot in those days. > > I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? > > David T > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Sat May 15 10:48:57 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Sat, 15 May 2021 16:48:57 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: I was a founder member of Dave Mutton's Crew T which was indeed formed as a training crew to service Directors Courses and also Make Up Courses now and then. It morphed into Crew 14. When I left in March 1970 there were 18 camera crews. Geoff F On Sat, 15 May 2021 at 16:28, David Newbitt via Tech1 wrote: > I think there were 11 crews when I joined in 1962. I vaguely remember that > when Crew 13 was formed it was called the training crew but memory does > play tricks with one. > > Dave Newbitt. > > *From:* David Brunt via Tech1 > *Sent:* Saturday, May 15, 2021 4:11 PM > *To:* David Taylor ; Tech-Ops-chit-chat > *Subject:* Re: [Tech1] Thanks for the TC1 and TVT information > > Surely there were more than six? There were at least ten working BBC > studios around London by then (four at TVC, three at the Grove, two at > Riverside, and the Theatre). > > > *From:* David Taylor via Tech1 > *Sent:* Saturday, May 15, 2021 3:55 PM > *To:* Tech-Ops-chit-chat > *Subject:* [Tech1] Thanks for the TC1 and TVT information > > Many thanks to all of you for digging into your diaries and memory banks > and giving me so many programmes done in the early years at TC1 and TVT. > You were a busy lot in those days. > > I've been told that the number of crews was about six in 1962 and it was > up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it > level off to? > > David T > > ------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > ------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From chris at chriswoolf.co.uk Sat May 15 11:52:00 2021 From: chris at chriswoolf.co.uk (Chris Woolf) Date: Sat, 15 May 2021 17:52:00 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: <496815c7-1802-8334-ed69-6372a915dbfb@chriswoolf.co.uk> Crew 18 certainly existed in 1966 - I was on it! Chris Woolf On 15/05/2021 16:11, David Brunt via Tech1 wrote: > Surely there were more than six?? There were at least ten working BBC > studios around London by then (four at TVC, three at the Grove, two at > Riverside, and the Theatre). > > *From:* David Taylor via Tech1 > *Sent:* Saturday, May 15, 2021 3:55 PM > *To:* Tech-Ops-chit-chat > *Subject:* [Tech1] Thanks for the TC1 and TVT information > Many thanks to all of you for digging into your diaries and memory > banks and giving me so many programmes done in the early years at TC1 > and TVT. > You were a busy lot in those days. > I've been told that the number of crews was about six in 1962 and it > was up to 13 by 1966, after the 'growth spurt' of BBC2. What number > did it level off to? > David T > > ------------------------------------------------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From ian.norman at armoor.co.uk Sat May 15 12:02:49 2021 From: ian.norman at armoor.co.uk (Ian Norman) Date: Sat, 15 May 2021 18:02:49 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: Dear David, When I joined in 1978, there were 19 crews. Stay safe Ian Norman Email: mailto:ian.norman at armoor.co.uk Telephone: 01643 888181 On 15/05/2021 15:55, David Taylor via Tech1 wrote: > Many thanks to all of you for digging into your diaries and memory banks > and giving me so many programmes done in the early years at TC1 and TVT. > You were a busy lot in those days. > > I've been told that the number of crews was about six in 1962 and it was > up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it > level off to? > > David T > From mibridge at mac.com Sat May 15 12:07:50 2021 From: mibridge at mac.com (Mike Giles) Date: Sat, 15 May 2021 18:07:50 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: I believe that when I came to TVC in 1974/5 allocations had paperwork for up 22 crews, but I think that 21 and 22 were never staffed whilst I was there. Likewise, I think there were posts for something like 42 Sound Supervisors, but at least two posts were not filled. Mike G > On 15 May 2021, at 18:02, Ian Norman via Tech1 wrote: > > Dear David, > > When I joined in 1978, there were 19 crews. > > > Stay safe > > Ian Norman > > Email: mailto:ian.norman at armoor.co.uk > Telephone: 01643 888181 > > On 15/05/2021 15:55, David Taylor via Tech1 wrote: >> Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. >> You were a busy lot in those days. >> I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? >> David T > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From j at howell61.f9.co.uk Sat May 15 12:11:56 2021 From: j at howell61.f9.co.uk (John howell) Date: Sat, 15 May 2021 18:11:56 +0100 Subject: [Tech1] Cup Final Message-ID: <02C72A84-407B-4A7B-B621-DCBA8460B7FC@howell61.f9.co.uk> Halftime chat:?who nicked the chairs?! John. (Sent from the ifone) From alec.bray.2 at gmail.com Sat May 15 12:25:42 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Sat, 15 May 2021 18:25:42 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: Hi David Eleven (11) crews in May 1962 ( see http://tech-ops.co.uk/next/bbc-staff-list-and-staff-numbers/) Tech Ops web site always worth a look! -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From waresound at msn.com Sat May 15 12:54:18 2021 From: waresound at msn.com (Nick Ware) Date: Sat, 15 May 2021 17:54:18 +0000 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: , Message-ID: I?m pretty sure I came back from Evesham in the Winter of ?61 - ?62 onto crew 11. Vic Godrich was SA1, who I initially disliked but ended up with huge respect for (I?ve told you previously about the incident where he showed me how to give the slung C12 rope a couple of gentle kicks so that DMT would think it had been moved a teeny tad - Eric Robinson in G I think). I don?t remember who the camera crew were, but I do recall, having been previously on crew 2 with Frank Wilkins and Jim Atkinson, thinking crew 11 were the also-rans. (Sorry chaps!). Boom pool and Grams thereafter. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 On 15 May 2021, at 16:28, David Newbitt via Tech1 wrote: ? I think there were 11 crews when I joined in 1962. I vaguely remember that when Crew 13 was formed it was called the training crew but memory does play tricks with one. Dave Newbitt. From: David Brunt via Tech1 Sent: Saturday, May 15, 2021 4:11 PM To: David Taylor ; Tech-Ops-chit-chat Subject: Re: [Tech1] Thanks for the TC1 and TVT information Surely there were more than six? There were at least ten working BBC studios around London by then (four at TVC, three at the Grove, two at Riverside, and the Theatre). From: David Taylor via Tech1 Sent: Saturday, May 15, 2021 3:55 PM To: Tech-Ops-chit-chat Subject: [Tech1] Thanks for the TC1 and TVT information Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. You were a busy lot in those days. I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? David T ________________________________ -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk ________________________________ -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From david at davidtaylorsound.co.uk Sat May 15 14:57:41 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Sat, 15 May 2021 20:57:41 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: Hi all, I was wrong with the numbers I see...but looks like they still grew rapidly from 13 once more studios opened at TVC. Can anyone tell me if the two Ella Fitzgerald shows 'Sings' (TX 8th May 1965 ) and 'Swings' were done in TC1...looks like it to me. The shows were joined into one for a repeat on BBC2 after her death in 1996. The first 'Ella Fitzgerald Sings' was off 2" QUAD and the second from 16mm telerecording. Luckily the sound on those 16mm telerecordings is surprising good quality, must have been done on a Mag Track. Len Shorey would have be pleased with his mixes of both Johnnie Spence's Orchestra (with Tubby Hayes soloing) plus The Tommy Flanagan Trio on both. YouTube has it:* https://www.youtube.com/watch?v=l7XkpN29kNE * *David T.* On Sat, 15 May 2021 at 18:08, Mike Giles via Tech1 wrote: > I believe that when I came to TVC in 1974/5 allocations had paperwork for > up 22 crews, but I think that 21 and 22 were never staffed whilst I was > there. Likewise, I think there were posts for something like 42 Sound > Supervisors, but at least two posts were not filled. > > Mike G > > > On 15 May 2021, at 18:02, Ian Norman via Tech1 > wrote: > > > > Dear David, > > > > When I joined in 1978, there were 19 crews. > > > > > > Stay safe > > > > Ian Norman > > > > Email: mailto:ian.norman at armoor.co.uk > > Telephone: 01643 888181 > > > > On 15/05/2021 15:55, David Taylor via Tech1 wrote: > >> Many thanks to all of you for digging into your diaries and memory > banks and giving me so many programmes done in the early years at TC1 and > TVT. > >> You were a busy lot in those days. > >> I've been told that the number of crews was about six in 1962 and it > was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it > level off to? > >> David T > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Sat May 15 19:04:19 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 16 May 2021 01:04:19 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: In the crew pigeon holes in the allocations office there were 25 crew briefcases but the last 5 were never used! Soon after, we started the one week crew 'stand-downs' and transferred one crew to OBs. as work dried up and the political climate changed making us work for other broadcasters like ITV and Sky. Cheers, Dave On 15/05/2021 18:07, Mike Giles via Tech1 wrote: > I believe that when I came to TVC in 1974/5 allocations had paperwork for up 22 crews, but I think that 21 and 22 were never staffed whilst I was there. Likewise, I think there were posts for something like 42 Sound Supervisors, but at least two posts were not filled. > > Mike G > >> On 15 May 2021, at 18:02, Ian Norman via Tech1 wrote: >> >> Dear David, >> >> When I joined in 1978, there were 19 crews. >> >> >> Stay safe >> >> Ian Norman >> >> Email: mailto:ian.norman at armoor.co.uk >> Telephone: 01643 888181 >> >> On 15/05/2021 15:55, David Taylor via Tech1 wrote: >>> Many thanks to all of you for digging into your diaries and memory banks and giving me so many programmes done in the early years at TC1 and TVT. >>> You were a busy lot in those days. >>> I've been told that the number of crews was about six in 1962 and it was up to 13 by 1966, after the 'growth spurt' of BBC2. What number did it level off to? >>> David T >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > From hughsheppard at btinternet.com Sun May 16 02:01:37 2021 From: hughsheppard at btinternet.com (Hugh Sheppard) Date: Sun, 16 May 2021 08:01:37 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: Hmmm! When I joined in 1958 and went to crew 6 (Mark Lewis SC), there were at least 9 crews, probably 10. Within my first year I saw something of Crews 8 (Bob Warman SC) and 9 (Laurie Duly SC). Hugh On 16-May-21 1:04 AM, dave.mdv via Tech1 wrote: > In the crew pigeon holes in the allocations office there were 25 crew > briefcases but the last 5 were never used! Soon after, we started the > one week crew 'stand-downs' and transferred one crew to OBs. as work > dried up and the political climate changed making us work for other > broadcasters like ITV and Sky. Cheers, Dave > > On 15/05/2021 18:07, Mike Giles via Tech1 wrote: >> I believe that when I came to TVC in 1974/5 allocations had paperwork >> for up 22 crews, but I think that 21 and 22 were never staffed whilst >> I was there. Likewise, I think there were posts for something like 42 >> Sound Supervisors, but at least two posts were not filled. >> >> Mike G >> >>> On 15 May 2021, at 18:02, Ian Norman via Tech1 >>> wrote: >>> >>> Dear David, >>> >>> When I joined in 1978, there were 19 crews. >>> >>> >>> Stay safe >>> >>> Ian Norman >>> >>> Email: mailto:ian.norman at armoor.co.uk >>> Telephone: 01643 888181 >>> >>> On 15/05/2021 15:55, David Taylor via Tech1 wrote: >>>> Many thanks to all of you for digging into your diaries and memory >>>> banks and giving me so many programmes done in the early years at >>>> TC1 and TVT. >>>> You were a busy lot in those days. >>>> I've been told that the number of crews was about six in 1962 and >>>> it was up to 13 by 1966, after the 'growth spurt' of BBC2. What >>>> number did it level off to? >>>> David T >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sun May 16 07:11:52 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 16 May 2021 13:11:52 +0100 Subject: [Tech1] Thanks for the TC1 and TVT information In-Reply-To: References: Message-ID: <592d821d5adavesound@btinternet.com> ISTR a crew 20, before I left. So mid 70s. In article , dave.mdv via Tech1 wrote: > In the crew pigeon holes in the allocations office there were 25 crew > briefcases but the last 5 were never used! Soon after, we started the > one week crew 'stand-downs' and transferred one crew to OBs. as work > dried up and the political climate changed making us work for other > broadcasters like ITV and Sky. Cheers, Dave -- Dave Plowman dave at davesound.co.uk London SW 12 From tuckergarth at me.com Sun May 16 07:52:53 2021 From: tuckergarth at me.com (Garth Tucker) Date: Sun, 16 May 2021 13:52:53 +0100 Subject: [Tech1] Mole Training Message-ID: <9E6F9A4A-62E7-40CE-9B31-985D7B13F301@me.com> A friend of mine, Andy Stephen, who I worked with on Corrie, he was a film/video cameraman on single camera shoots on location, sent me this https://youtu.be/vK52RxUdn-Y Cameramen my wonder who is being trained? The end-titles ask the question. Garth -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Sun May 16 08:46:43 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sun, 16 May 2021 14:46:43 +0100 Subject: [Tech1] Mole Training In-Reply-To: <9E6F9A4A-62E7-40CE-9B31-985D7B13F301@me.com> References: <9E6F9A4A-62E7-40CE-9B31-985D7B13F301@me.com> Message-ID: Reminds me of a simiar session in TVT around 1975 when we were demonstrating the mole crane to a directors? course. Same set up, pianist and single shot on the mole. (NB: the shot sequence looked very familiar!) Ian Gibb put me on the front and he swung, tracker was either Dave Aylott or Brian Eastell. Trouble was the course director wanted my mike open so the course could hear my instructions to the crew, which was fine, except that Ian wanted to demonstrate the old fashioned way of swinging using hand-signals rather than tracker talkback. So I had to remember to duplicate the spoken instructions with hand-signals, got me quite confused at times. ? Graeme Wall > On 16 May 2021, at 13:52, Garth Tucker via Tech1 wrote: > > A friend of mine, Andy Stephen, who I worked with on Corrie, he was a film/video cameraman on single camera shoots on location, sent me this https://youtu.be/vK52RxUdn-Y > > Cameramen my wonder who is being trained? The end-titles ask the question. > > Garth > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From bernie833 at gmail.com Sun May 16 10:06:13 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Sun, 16 May 2021 16:06:13 +0100 Subject: [Tech1] Mole Training In-Reply-To: <9E6F9A4A-62E7-40CE-9B31-985D7B13F301@me.com> References: <9E6F9A4A-62E7-40CE-9B31-985D7B13F301@me.com> Message-ID: <5e08cf2e-53a4-8f7a-9635-4a752b07620e@gmail.com> John Barlow organised this, and I put one of the songs here - http://www.tech-ops.co.uk/page157d.html? . Sadly it's in Flash video, so now not playable on a web page, though I find that VLC will do the job. On the page John Barlow says /"When I was H Tel Cams I used to visit each TO course at Evesham and spend an afternoon discussing what the new recruits would actually be doing and the expectations that we had of them. I put together a series of clips (one being the Ron one) to use during the 'Lecture' part. My best guess is that this dates from 1988 as that's what it says on the box! "// // //*Nigel Saunders*////has more info - "....the reason the tape was made was as a demo for the Crane Training Days Nigel and I ran - we showed the trainees the tape and with the aid of shot cards and bar count they recreated it with Nigel or me on the front of the Mole. They were also given a number to produce their own camera script to with interesting results!"/ B On 16/05/2021 13:52, Garth Tucker via Tech1 wrote: > A friend of mine, Andy Stephen, who I worked with on Corrie, he was a > film/video cameraman on single camera shoots on location, sent me this > https://youtu.be/vK52RxUdn-Y > > Cameramen my wonder who is being trained? The end-titles ask the question. > > Garth > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jccglass at gmail.com Mon May 17 11:26:53 2021 From: jccglass at gmail.com (Chris on gmail) Date: Mon, 17 May 2021 17:26:53 +0100 Subject: [Tech1] MIC uv sterilization update Message-ID: <084C6AA59EDB4061B56899E013232606@dell9100> ----- Original Message ----- From: To: Sent: Monday, May 17, 2021 3:19 PM Subject: uv sterilization [ ref:_00D1I1Uyte._5001IdZCKJ:ref ] Hi Chris, Case #: 00543438 Please accept my apology for the delay in response, we've had several team members away from the office at late notice and are urgently working through all cases and enquiries. Please see link below for guidance on our recommendations for cleaning the microphones;- https://www.shure.com/en-US/support/mic-cleaning Please kindly note that further to our team's research, it's recommended that you do not use UV sterilizers. I hope this helps, please let me know if you need any additional information. Please let us know if you have any questions. Ross Worrell-Adams I Customer Service Rep Senior Shure UK Ltd Tel: 01992 703 058 -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Mon May 17 13:31:32 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Mon, 17 May 2021 19:31:32 +0100 Subject: [Tech1] TVC crew numbers In-Reply-To: References: Message-ID: <99de03d4-cc97-f592-2c57-6878a6330b6a@btinternet.com> When i transferred to OBs in 1981 there were 19 crews listed but some were 'rested' for a while, on rotation. The last sound crew list I have is from 1986 and lists 13 full time crews. Cheers, Dave On 16/05/2021 08:01, Hugh Sheppard wrote: > Hmmm! When I joined in 1958 and went to crew 6 (Mark Lewis SC), there > were at least 9 crews, probably 10. Within my first year I saw > something of Crews 8 (Bob Warman SC) and 9 (Laurie Duly SC). > > Hugh > > On 16-May-21 1:04 AM, dave.mdv via Tech1 wrote: >> In the crew pigeon holes in the allocations office there were 25 crew >> briefcases but the last 5 were never used! Soon after, we started the >> one week crew 'stand-downs' and transferred one crew to OBs. as work >> dried up and the political climate changed making us work for other >> broadcasters like ITV and Sky. Cheers, Dave >> >> On 15/05/2021 18:07, Mike Giles via Tech1 wrote: >>> I believe that when I came to TVC in 1974/5 allocations had >>> paperwork for up 22 crews, but I think that 21 and 22 were never >>> staffed whilst I was there. Likewise, I think there were posts for >>> something like 42 Sound Supervisors, but at least two posts were not >>> filled. >>> >>> Mike G >>> >>>> On 15 May 2021, at 18:02, Ian Norman via Tech1 >>>> wrote: >>>> >>>> Dear David, >>>> >>>> When I joined in 1978, there were 19 crews. >>>> >>>> >>>> Stay safe >>>> >>>> Ian Norman >>>> >>>> Email: mailto:ian.norman at armoor.co.uk >>>> Telephone: 01643 888181 >>>> >>>> On 15/05/2021 15:55, David Taylor via Tech1 wrote: >>>>> Many thanks to all of you for digging into your diaries and memory >>>>> banks and giving me so many programmes done in the early years at >>>>> TC1 and TVT. >>>>> You were a busy lot in those days. >>>>> I've been told that the number of crews was about six in 1962 and >>>>> it was up to 13 by 1966, after the 'growth spurt' of BBC2. What >>>>> number did it level off to? >>>>> David T >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Tue May 18 09:48:30 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Tue, 18 May 2021 15:48:30 +0100 Subject: [Tech1] A funny thing happened..... Message-ID: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> So, recce day - time to go out into the world again and check up on the Doggett's Coat and Badge. But first.... I was getting ready to go out to get the train, when the phone rang. We have (had) a blocked drain and the nice man from Thames Water was asking where exactly we were from Leatherhead.? Why TW can't provide them with proper direction finding gear I don't know - they seem to be rubbish.? So I was slightly caught between getting out for the train and discussing directions to an exact spot twenty miles from where he was.? And a big switch switched in my brain - suddenly I was back in the real world making a proper real world time management decision. It's stayed that way all day so far. The trains were just like always, same schedule from West Byfleet to Waterloo. I walked to the DC and B. There was nice man on the door to welcome me. I didn't have to give my name and staff number, as I used the track and trace QR code app. He asked if I'd booked, but I hadn't of course. Still the place was pretty un-busy at 1145 and I sat near him to drink a coffee.? I told him about my booking for 1200 next Tuesday 25th, and he said "Yes, you're on that table there "?? The third back on the right - three of us in so far. It could be a quiet birthday. "How are bookings for next Tuesday?" "Currently plenty of room inside". So - I'll be there. I've had my two vaccinations? - 'the science' can do no more for me, I can get out and live again. Down the river to Borough Market. A man tried to get me to buy some excellent looking and smelling paella, but they've take all the seating away. It's not the sort of food you can eat on the run, so I found a sandwich.? You still can't eat there, even standing up, so I joined a lot of other people on the wall by the river where they had been expelled from the market. Then I went back to the market, where, after trying a number of eagerly given samples, I bought some cheese and rolls. People are trying to get life going again B -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: pljajibpdnnhfnfa.png Type: image/png Size: 401735 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: meceifilgdfmakei.png Type: image/png Size: 317689 bytes Desc: not available URL: From alanaudio at me.com Tue May 18 11:51:44 2021 From: alanaudio at me.com (Alan Taylor) Date: Tue, 18 May 2021 17:51:44 +0100 Subject: [Tech1] A funny thing happened..... In-Reply-To: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> References: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> Message-ID: <57CE80B9-5748-4E21-976E-9D9D958DE81B@me.com> We decided to get out and about last week, prior to eating indoors becoming permitted. We hadn?t been far from home since last spring and we both had to celebrate significant birthdays at home during that period. Eat out to help out had been manic round here and we didn?t fancy joining the crowds in participating restaurants. However, once holiday cottages were open for business, we thought we would spend a few days in a cottage on a remote farm in Devon and do a bit of outdoor dining. Weather wasn?t too brilliant, but we checked weather maps and went wherever the better weather was. Best meal out was last Friday in a coastal village in the South Hams, eating outside by the beach at a restaurant just a few yards from where the fishing boats land. We enjoyed bright sunshine all day, but just a couple of miles inland, it had rained all day. I had one of the first crabs landed this season, or to be more precise, that morning was their first catch this season of just two crabs. My crab was almost the size of a rugby ball and was utterly delicious. None of your poncy London prices either, ?20 for the crab with salad, skinny chips and big chunks of sourdough. My wife had hand-dived scallops from the bay and the entire bill including starters, mains, drinks and coffee came to exactly ?70, which I thought was surprisingly reasonable. Now back at home again, Tuesday is the day the fish man calls at our village and this afternoon he had some scallops in his van. Dinner this evening will be scallops with beurre blanc, followed by poached skate wings. Not a bad result for a 50 metre stroll to the village green. Alan Taylor > On 18 May 2021, at 15:49, Bernard Newnham via Tech1 wrote: > > ? So, recce day - time to go out into the world again and check up on the Doggett's Coat and Badge. > > But first.... > > I was getting ready to go out to get the train, when the phone rang. We have (had) a blocked drain and the nice man from Thames Water was asking where exactly we were from Leatherhead. Why TW can't provide them with proper direction finding gear I don't know - they seem to be rubbish. So I was slightly caught between getting out for the train and discussing directions to an exact spot twenty miles from where he was. And a big switch switched in my brain - suddenly I was back in the real world making a proper real world time management decision. It's stayed that way all day so far. > > The trains were just like always, same schedule from West Byfleet to Waterloo. I walked to the DC and B. There was nice man on the door to welcome me. I didn't have to give my name and staff number, as I used the track and trace QR code app. He asked if I'd booked, but I hadn't of course. Still the place was pretty un-busy at 1145 and I sat near him to drink a coffee. I told him about my booking for 1200 next Tuesday 25th, and he said "Yes, you're on that table there " The third back on the right - three of us in so far. It could be a quiet birthday. > > > > > > "How are bookings for next Tuesday?" "Currently plenty of room inside". > > So - I'll be there. I've had my two vaccinations - 'the science' can do no more for me, I can get out and live again. > > Down the river to Borough Market. A man tried to get me to buy some excellent looking and smelling paella, but they've take all the seating away. It's not the sort of food you can eat on the run, so I found a sandwich. You still can't eat there, even standing up, so I joined a lot of other people on the wall by the river where they had been expelled from the market. > > Then I went back to the market, where, after trying a number of eagerly given samples, I bought some cheese and rolls. > > > > > People are trying to get life going again > > B > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Tue May 18 13:02:25 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Tue, 18 May 2021 19:02:25 +0100 Subject: [Tech1] A funny thing happened..... In-Reply-To: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> References: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> Message-ID: <2AAA4D84-803A-42AA-8D09-9B1B751E62CD@icloud.com> I will be joining you, make a change for a day out not to involve dealing with workmen! I?ve been up and down to Southamptin the last couple of weeks sorting out a flat after my tenan moved out and left it in a bit of a state. ? Graeme Wall > On 18 May 2021, at 15:48, Bernard Newnham via Tech1 wrote: > > So, recce day - time to go out into the world again and check up on the Doggett's Coat and Badge. > > But first.... > > I was getting ready to go out to get the train, when the phone rang. We have (had) a blocked drain and the nice man from Thames Water was asking where exactly we were from Leatherhead. Why TW can't provide them with proper direction finding gear I don't know - they seem to be rubbish. So I was slightly caught between getting out for the train and discussing directions to an exact spot twenty miles from where he was. And a big switch switched in my brain - suddenly I was back in the real world making a proper real world time management decision. It's stayed that way all day so far. > > The trains were just like always, same schedule from West Byfleet to Waterloo. I walked to the DC and B. There was nice man on the door to welcome me. I didn't have to give my name and staff number, as I used the track and trace QR code app. He asked if I'd booked, but I hadn't of course. Still the place was pretty un-busy at 1145 and I sat near him to drink a coffee. I told him about my booking for 1200 next Tuesday 25th, and he said "Yes, you're on that table there " The third back on the right - three of us in so far. It could be a quiet birthday. > > > > "How are bookings for next Tuesday?" "Currently plenty of room inside". > > So - I'll be there. I've had my two vaccinations - 'the science' can do no more for me, I can get out and live again. > > Down the river to Borough Market. A man tried to get me to buy some excellent looking and smelling paella, but they've take all the seating away. It's not the sort of food you can eat on the run, so I found a sandwich. You still can't eat there, even standing up, so I joined a lot of other people on the wall by the river where they had been expelled from the market. > > Then I went back to the market, where, after trying a number of eagerly given samples, I bought some cheese and rolls. > > > > People are trying to get life going again > > B > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From peter.neill at icloud.com Tue May 18 13:06:36 2021 From: peter.neill at icloud.com (Peter Neill) Date: Tue, 18 May 2021 19:06:36 +0100 Subject: [Tech1] A funny thing happened..... In-Reply-To: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> References: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> Message-ID: <8667FC77-7293-4048-9DB2-4EB648A27E00@icloud.com> For those thinking of coming, I decided to have a look at the menu on their website and discovered that if I signed up to their mailing list I would get 25% off on my next visit. I can always unsubscribe the day after! Best Peter Neill > On 18 May 2021, at 15:48, Bernard Newnham via Tech1 wrote: > > So, recce day - time to go out into the world again and check up on the Doggett's Coat and Badge. > > But first.... > > I was getting ready to go out to get the train, when the phone rang. We have (had) a blocked drain and the nice man from Thames Water was asking where exactly we were from Leatherhead. Why TW can't provide them with proper direction finding gear I don't know - they seem to be rubbish. So I was slightly caught between getting out for the train and discussing directions to an exact spot twenty miles from where he was. And a big switch switched in my brain - suddenly I was back in the real world making a proper real world time management decision. It's stayed that way all day so far. > > The trains were just like always, same schedule from West Byfleet to Waterloo. I walked to the DC and B. There was nice man on the door to welcome me. I didn't have to give my name and staff number, as I used the track and trace QR code app. He asked if I'd booked, but I hadn't of course. Still the place was pretty un-busy at 1145 and I sat near him to drink a coffee. I told him about my booking for 1200 next Tuesday 25th, and he said "Yes, you're on that table there " The third back on the right - three of us in so far. It could be a quiet birthday. > > > > "How are bookings for next Tuesday?" "Currently plenty of room inside". > > So - I'll be there. I've had my two vaccinations - 'the science' can do no more for me, I can get out and live again. > > Down the river to Borough Market. A man tried to get me to buy some excellent looking and smelling paella, but they've take all the seating away. It's not the sort of food you can eat on the run, so I found a sandwich. You still can't eat there, even standing up, so I joined a lot of other people on the wall by the river where they had been expelled from the market. > > Then I went back to the market, where, after trying a number of eagerly given samples, I bought some cheese and rolls. > > > > People are trying to get life going again > > B > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Tue May 18 14:25:34 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Tue, 18 May 2021 20:25:34 +0100 Subject: [Tech1] A funny thing happened..... In-Reply-To: <2AAA4D84-803A-42AA-8D09-9B1B751E62CD@icloud.com> References: <0b6c9a7b-f573-bfbe-ee00-c64ae0af963a@gmail.com> <2AAA4D84-803A-42AA-8D09-9B1B751E62CD@icloud.com> Message-ID: Excellent, now we are four. Two more spaces on my table. B On 18/05/2021 19:02, Graeme Wall wrote: > I will be joining you, make a change for a day out not to involve dealing with workmen! I?ve been up and down to Southamptin the last couple of weeks sorting out a flat after my tenan moved out and left it in a bit of a state. > ? > Graeme Wall > > >> On 18 May 2021, at 15:48, Bernard Newnham via Tech1 wrote: >> >> So, recce day - time to go out into the world again and check up on the Doggett's Coat and Badge. >> >> But first.... >> >> I was getting ready to go out to get the train, when the phone rang. We have (had) a blocked drain and the nice man from Thames Water was asking where exactly we were from Leatherhead. Why TW can't provide them with proper direction finding gear I don't know - they seem to be rubbish. So I was slightly caught between getting out for the train and discussing directions to an exact spot twenty miles from where he was. And a big switch switched in my brain - suddenly I was back in the real world making a proper real world time management decision. It's stayed that way all day so far. >> >> The trains were just like always, same schedule from West Byfleet to Waterloo. I walked to the DC and B. There was nice man on the door to welcome me. I didn't have to give my name and staff number, as I used the track and trace QR code app. He asked if I'd booked, but I hadn't of course. Still the place was pretty un-busy at 1145 and I sat near him to drink a coffee. I told him about my booking for 1200 next Tuesday 25th, and he said "Yes, you're on that table there " The third back on the right - three of us in so far. It could be a quiet birthday. >> >> >> >> "How are bookings for next Tuesday?" "Currently plenty of room inside". >> >> So - I'll be there. I've had my two vaccinations - 'the science' can do no more for me, I can get out and live again. >> >> Down the river to Borough Market. A man tried to get me to buy some excellent looking and smelling paella, but they've take all the seating away. It's not the sort of food you can eat on the run, so I found a sandwich. You still can't eat there, even standing up, so I joined a lot of other people on the wall by the river where they had been expelled from the market. >> >> Then I went back to the market, where, after trying a number of eagerly given samples, I bought some cheese and rolls. >> >> >> >> People are trying to get life going again >> >> B >> >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From crew13 at vincent68.plus.com Fri May 21 05:34:02 2021 From: crew13 at vincent68.plus.com (crew13) Date: Fri, 21 May 2021 11:34:02 +0100 Subject: [Tech1] Early TVT shows Message-ID: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> Meet the Wife. A sitcom with Thora Hird and Freddie Frinton. My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray Butt. John V From jccglass at gmail.com Fri May 21 06:20:08 2021 From: jccglass at gmail.com (Chris on gmail) Date: Fri, 21 May 2021 12:20:08 +0100 Subject: [Tech1] Early TVT shows References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> Message-ID: <6ED496FD253E4369A73AF0349FD89561@dell9100> Meet the wife remember that ! i was permantly buried upstage (must have been camera pool ) in the bedroom? was racks still op beside the stage then ? chris From pat.heigham at amps.net Fri May 21 06:21:35 2021 From: pat.heigham at amps.net (patheigham) Date: Fri, 21 May 2021 12:21:35 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> Message-ID: <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> I can vouch for Crew 3, virtually hermits of TVT, 1962-63 and also 65, I think. Regular diet was Black & White Minstrels one weekend, Billy Cotton Band Show the next with Crackerjack in between ? that was on Wednesdays, then. Crew was Eddie Stuart (1) Ian Gibb (2) Ron Peverall (3). Mike Cotton, Eric Wallis and Trevor Webster plus me on Sound. Adrian (Yogi) Stocks was the regular Sound Supervisor. ?Pops & Lenny (the Lion)? was my first experience of the Beatles. Also ?Faces of Jim? with Jimmy Edwards and June Whitfield, Ronnie Barker also featured. There was a Ballet Spectacular (probably directed by Margaret Dale). I was checking the mike for Robert Helpmann, narrating from a prompt side table ? mike was concealed in a vase of gladioli. ?This is Mr. Helpmann?s mike? He glared and growled at me: ?Sir Robert to you, boy? He had just received a knighthood, of which I was unaware, but Oh! His egotism! Think there was a magic show with David Nixon, too. He pretended to cut the mike cable on the boom (actually a spare bit of matching cable ? sound killed while he did this). In those days, the control rooms were behind the stage with no direct view, this was provided by a vidicon camera on the circle, to a dedicated monitor in the production gallery. Also there was a ?dome? mic (ball & biscuit 4021) for basic communication if the boom wasn?t faded up. To check this from time to time meant venturing onto the roof, via a pigeon-shit encrusted attic of the turret. As the studio was still licensed as a working theatre, there could be no cables, camera or sound crossing the proscenium arch, where the fire safety curtain (the Iron) would descend. There were mike boxes installed in the flies ? high up, with extension cables dropping down to stage level. It was after I left, that the control galleries were re-sited at the corner of the circle, with direct view windows to the stage. Previously the lighting control was there. In the earlier days there was a PA control desk at the back of the circle. I have a memory of small loudspeakers installed in the backs between every two seats in the stalls, rather than the slung Pamphonic line-source speakers used for the audience rigs in TC studios. Memories, memories!, Pat Sent from Mail for Windows 10 From: crew13 via Tech1 Sent: 21 May 2021 11:34 To: Tech1 at tech-ops.co.uk Subject: [Tech1] Early TVT shows Meet the Wife. A sitcom with Thora Hird and Freddie Frinton. My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray Butt. John V -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Fri May 21 06:52:17 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Fri, 21 May 2021 12:52:17 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> Message-ID: Interesting you mention the TVT control rooms being moved to have stage views. The first time I worked there was after colourisation and the control rooms were away from the auditorium with no windows and the vidicon camera reinstated. ? Graeme Wall > On 21 May 2021, at 12:21, patheigham via Tech1 wrote: > > I can vouch for Crew 3, virtually hermits of TVT, 1962-63 and also 65, I think. > Regular diet was Black & White Minstrels one weekend, Billy Cotton Band Show the next with Crackerjack in between ? that was on Wednesdays, then. Crew was Eddie Stuart (1) Ian Gibb (2) Ron Peverall (3). Mike Cotton, Eric Wallis and Trevor Webster plus me on Sound. Adrian (Yogi) Stocks was the regular Sound Supervisor. ?Pops & Lenny (the Lion)? was my first experience of the Beatles. > Also ?Faces of Jim? with Jimmy Edwards and June Whitfield, Ronnie Barker also featured. > There was a Ballet Spectacular (probably directed by Margaret Dale). I was checking the mike for Robert Helpmann, narrating from a prompt side table ? mike was concealed in a vase of gladioli. ?This is Mr. Helpmann?s mike? He glared and growled at me: ?Sir Robert to you, boy? He had just received a knighthood, of which I was unaware, but Oh! His egotism! > Think there was a magic show with David Nixon, too. > He pretended to cut the mike cable on the boom (actually a spare bit of matching cable ? sound killed while he did this). > > In those days, the control rooms were behind the stage with no direct view, this was provided by a vidicon camera on the circle, to a dedicated monitor in the production gallery. Also there was a ?dome? mic (ball & biscuit 4021) for basic communication if the boom wasn?t faded up. To check this from time to time meant venturing onto the roof, via a pigeon-shit encrusted attic of the turret. > As the studio was still licensed as a working theatre, there could be no cables, camera or sound crossing the proscenium arch, where the fire safety curtain (the Iron) would descend. > There were mike boxes installed in the flies ? high up, with extension cables dropping down to stage level. > It was after I left, that the control galleries were re-sited at the corner of the circle, with direct view windows to the stage. Previously the lighting control was there. > In the earlier days there was a PA control desk at the back of the circle. I have a memory of small loudspeakers installed in the backs between every two seats in the stalls, rather than the slung Pamphonic line-source speakers used for the audience rigs in TC studios. > > Memories, memories!, > Pat > > Sent from Mail for Windows 10 > > From: crew13 via Tech1 > Sent: 21 May 2021 11:34 > To: Tech1 at tech-ops.co.uk > Subject: [Tech1] Early TVT shows > > Meet the Wife. > > A sitcom with Thora Hird and Freddie Frinton. > > My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray Butt. > > John V > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From dudley.darby at gmail.com Fri May 21 09:37:43 2021 From: dudley.darby at gmail.com (Dudley Darby) Date: Fri, 21 May 2021 15:37:43 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> Message-ID: On one of the Meet the Wife episodes in 1964 Freedie Frinton brought in a 16mm film that NDR had made called "Dinner for One" a comedy short with him and May Warden. Graeme Muir had it laced up on a TK machine and played back during the lunch break. It has only been seen a few times here, and the One Show did a piece about it, but gets played every Christmas in Germany. We saw it just after it first aired in Germany I believe. https://www.youtube.com/watch?v=5n7VI0rC8ZA Dudley C. Darby -----Original Message----- From: Tech1 [mailto:tech1-bounces at tech-ops.co.uk] On Behalf Of crew13 via Tech1 Sent: 21 May 2021 11:34 To: Tech1 at tech-ops.co.uk Subject: [Tech1] Early TVT shows Meet the Wife. A sitcom with Thora Hird and Freddie Frinton. My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray Butt. John V -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus From alanaudio at me.com Fri May 21 09:44:48 2021 From: alanaudio at me.com (Alan Taylor) Date: Fri, 21 May 2021 15:44:48 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: References: Message-ID: Dinner for One doesn?t just get played once on New Years Eve in Germany. It?s played multiple times on some channels and is shown on most channels at some point. It?s also very popular in Scandinavia. My German in-laws were delighted when they discovered that I was already familiar with the sketch. Very few Brits have ever heard of it. If you visit a National Trust house and there are German visitors too, you will often hear them quoting lines from the sketch if they are in a grand dining room, or if there is a tiger skin rug. Alan Taylor > On 21 May 2021, at 15:38, Dudley Darby via Tech1 wrote: > > ?On one of the Meet the Wife episodes in 1964 Freedie Frinton brought in a > 16mm film that NDR had made called "Dinner for One" a comedy short with him > and May Warden. Graeme Muir had it laced up on a TK machine and played back > during the lunch break. It has only been seen a few times here, and the One > Show did a piece about it, but gets played every Christmas in Germany. We > saw it just after it first aired in Germany I believe. > > https://www.youtube.com/watch?v=5n7VI0rC8ZA > > > Dudley C. Darby > > > -----Original Message----- > From: Tech1 [mailto:tech1-bounces at tech-ops.co.uk] On Behalf Of crew13 via > Tech1 > Sent: 21 May 2021 11:34 > To: Tech1 at tech-ops.co.uk > Subject: [Tech1] Early TVT shows > > Meet the Wife. > > A sitcom with Thora Hird and Freddie Frinton. > > My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray > Butt. > > John V > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From pat.heigham at amps.net Fri May 21 10:29:28 2021 From: pat.heigham at amps.net (patheigham) Date: Fri, 21 May 2021 16:29:28 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: References: Message-ID: <60a7d1d8.1c69fb81.88c22.cc55@mx.google.com> Yep! My West Country friends love it, and I managed to capture a transmission fairly recently off one of our channels. ?Same as last year, m?lady? Freddie playing the butler, gets gradually inebriated, drinking all the invisible guests? wine, which reminds me of Mike Bentine?s very clever sketch where he gets more and more drunk, having imbibed at each toast. Pat Sent from Mail for Windows 10 From: Alan Taylor via Tech1 Sent: 21 May 2021 15:45 To: tech1 Subject: Re: [Tech1] Early TVT shows Dinner for One doesn?t just get played once on New Years Eve in Germany. It?s played multiple times on some channels and is shown on most channels at some point. It?s also very popular in Scandinavia. My German in-laws were delighted when they discovered that I was already familiar with the sketch. Very few Brits have ever heard of it. If you visit a National Trust house and there are German visitors too, you will often hear them quoting lines from the sketch if they are in a grand dining room, or if there is a tiger skin rug. Alan Taylor -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Fri May 21 10:39:11 2021 From: davesound at btinternet.com (Dave Plowman) Date: Fri, 21 May 2021 16:39:11 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> Message-ID: <5930284407davesound@btinternet.com> In article <60a797bd.1c69fb81.9356f.b4eb at mx.google.com>, patheigham via Tech1 wrote: > In those days, the control rooms were behind the stage with no direct > view, this was provided by a vidicon camera on the circle, to a > dedicated monitor in the production gallery. Also there was a ?dome? mic > (ball & biscuit 4021) for basic communication if the boom wasn?t faded > up. To check this from time to time meant venturing onto the roof, via a > pigeon-shit encrusted attic of the turret. Always thought the thistle mic was a space mic for applause. -- Dave Plowman dave at davesound.co.uk London SW 12 From barrybonner119 at btinternet.com Fri May 21 10:45:56 2021 From: barrybonner119 at btinternet.com (Barry Bonner) Date: Fri, 21 May 2021 16:45:56 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <5930284407davesound@btinternet.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> <5930284407davesound@btinternet.com> Message-ID: <284ADE78-41DA-4849-AD78-B144F2C48D10@btinternet.com> Hi Dave, Yes it was. Barry. On 21 May 2021, at 16:39, Dave Plowman via Tech1 wrote: > In article <60a797bd.1c69fb81.9356f.b4eb at mx.google.com>, > patheigham via Tech1 wrote: >> In those days, the control rooms were behind the stage with no direct >> view, this was provided by a vidicon camera on the circle, to a >> dedicated monitor in the production gallery. Also there was a ?dome? mic >> (ball & biscuit 4021) for basic communication if the boom wasn?t faded >> up. To check this from time to time meant venturing onto the roof, via a >> pigeon-shit encrusted attic of the turret. > > Always thought the thistle mic was a space mic for applause. > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Fri May 21 13:56:19 2021 From: alanaudio at me.com (Alan Taylor) Date: Fri, 21 May 2021 19:56:19 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: References: Message-ID: It?s always fun to throw in a bit of useless but fascinating trivia. The programme Meet the Wife was mentioned in a Beatles lyric. In Good Morning, Good Morning, there is a line ?It?s time for tea and Meet the Wife?. There can?t be many TV shows which get a name check in a Beatles song, although a number of TV shows take their titles from well-known songs. Alan Taylor > On 21 May 2021, at 15:38, Dudley Darby via Tech1 wrote: > > ?On one of the Meet the Wife episodes in 1964 Freedie Frinton brought in a > 16mm film that NDR had made called "Dinner for One" a comedy short with him > and May Warden. Graeme Muir had it laced up on a TK machine and played back > during the lunch break. It has only been seen a few times here, and the One > Show did a piece about it, but gets played every Christmas in Germany. We > saw it just after it first aired in Germany I believe. > > https://www.youtube.com/watch?v=5n7VI0rC8ZA > > > Dudley C. Darby > > > -----Original Message----- > From: Tech1 [mailto:tech1-bounces at tech-ops.co.uk] On Behalf Of crew13 via > Tech1 > Sent: 21 May 2021 11:34 > To: Tech1 at tech-ops.co.uk > Subject: [Tech1] Early TVT shows > > Meet the Wife. > > A sitcom with Thora Hird and Freddie Frinton. > > My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 Ray > Butt. > > John V > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > This email has been checked for viruses by Avast antivirus software. > https://www.avast.com/antivirus > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From david at davidtaylorsound.co.uk Fri May 21 14:34:27 2021 From: david at davidtaylorsound.co.uk (David Taylor) Date: Fri, 21 May 2021 20:34:27 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> Message-ID: Pat, Thanks for some nice descriptions of early '60's TVT. David T On Fri, 21 May 2021 at 12:21, patheigham via Tech1 wrote: > I can vouch for Crew 3, virtually hermits of TVT, 1962-63 and also 65, I > think. > > Regular diet was Black & White Minstrels one weekend, Billy Cotton Band > Show the next with Crackerjack in between ? that was on Wednesdays, then. > Crew was Eddie Stuart (1) Ian Gibb (2) Ron Peverall (3). Mike Cotton, Eric > Wallis and Trevor Webster plus me on Sound. Adrian (Yogi) Stocks was the > regular Sound Supervisor. ?Pops & Lenny (the Lion)? was my first experience > of the Beatles. > > Also ?Faces of Jim? with Jimmy Edwards and June Whitfield, Ronnie Barker > also featured. > > There was a Ballet Spectacular (probably directed by Margaret Dale). I was > checking the mike for Robert Helpmann, narrating from a prompt side table ? > mike was concealed in a vase of gladioli. ?This is Mr. Helpmann?s mike? He > glared and growled at me: ?*Sir Robert* to you, boy? He had just received > a knighthood, of which I was unaware, but Oh! His egotism! > > Think there was a magic show with David Nixon, too. > > He pretended to cut the mike cable on the boom (actually a spare bit of > matching cable ? sound killed while he did this). > > > > In those days, the control rooms were behind the stage with no direct > view, this was provided by a vidicon camera on the circle, to a dedicated > monitor in the production gallery. Also there was a ?dome? mic (ball & > biscuit 4021) for basic communication if the boom wasn?t faded up. To check > this from time to time meant venturing onto the roof, via a pigeon-shit > encrusted attic of the turret. > > As the studio was still licensed as a working theatre, there could be no > cables, camera or sound crossing the proscenium arch, where the fire safety > curtain (the Iron) would descend. > > There were mike boxes installed in the flies ? high up, with extension > cables dropping down to stage level. > > It was after I left, that the control galleries were re-sited at the > corner of the circle, with direct view windows to the stage. Previously the > lighting control was there. > > In the earlier days there was a PA control desk at the back of the circle. > I have a memory of small loudspeakers installed in the backs between every > two seats in the stalls, rather than the slung Pamphonic line-source > speakers used for the audience rigs in TC studios. > > > > Memories, memories!, > > Pat > > > > Sent from Mail for > Windows 10 > > > > *From: *crew13 via Tech1 > *Sent: *21 May 2021 11:34 > *To: *Tech1 at tech-ops.co.uk > *Subject: *[Tech1] Early TVT shows > > > > Meet the Wife. > > > > A sitcom with Thora Hird and Freddie Frinton. > > > > My first crew placement. 15 I think. Ian Gibb sen cam and his number 2 > Ray Butt. > > > > John V > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > > ------------------------------ > [image: Avast logo] > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > <#m_5417705300977321426_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From alawrance1 at me.com Fri May 21 16:24:32 2021 From: alawrance1 at me.com (Alasdair Lawrance) Date: Fri, 21 May 2021 22:24:32 +0100 Subject: [Tech1] Bashir etc Message-ID: Like a lot of people, I suspect, I'm more than a little suspect about the timing of this affair. A few questions - Diana did not appear to be forced into the interview, although it is true she was deceived at some points. None the less, she seemed to be quite relaxed to me when it was originally shown. She was in her thirties, after all, even if she had been treated badly by Charles and family. Was she paid an appearance fee, and if so, how much was it? Why has it come out now, when there is discussion of Paul Dacre possibly becoming the head of Ofcom? It's made to appear that other media , ITV and the red top press have nothing to do with Diana's death, which was undoubtedly tragic. Fayad's campaign went on for years, even alledging it was deliberate. Remember the NoW hacked phone scandal, with damages still being awarded behind closed doors. I'm also getting a little tired of the poor little rich boys going on about it. They're both adults now with access to the best counselling and advice on handling this situation available to them. Instead they're simply stoking the fire. And I don't believe their statements are genuine, they've got PR consultant written all over them. Alasdair Lawrance Don?t blame me, I voted Remain. From mibridge at mac.com Fri May 21 18:06:06 2021 From: mibridge at mac.com (Mike Giles) Date: Sat, 22 May 2021 00:06:06 +0100 Subject: [Tech1] Bashir etc In-Reply-To: References: Message-ID: Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. Mike G > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 wrote: > > ?Like a lot of people, I suspect, I'm more than a little suspect about the timing of this affair. > > A few questions - > > Diana did not appear to be forced into the interview, although it is true she was deceived at some points. None the less, she seemed to be quite relaxed to me when it was originally shown. She was in her thirties, after all, even if she had been treated badly by Charles and family. > > Was she paid an appearance fee, and if so, how much was it? > > Why has it come out now, when there is discussion of Paul Dacre possibly becoming the head of Ofcom? > > It's made to appear that other media , ITV and the red top press have nothing to do with Diana's death, which was undoubtedly tragic. Fayad's campaign went on for years, even alledging it was deliberate. Remember the NoW hacked phone scandal, with damages still being awarded behind closed doors. > > I'm also getting a little tired of the poor little rich boys going on about it. They're both adults now with access to the best counselling and advice on handling this situation available to them. Instead they're simply stoking the fire. And I don't believe their statements are genuine, they've got PR consultant written all over them. > > > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From pat.heigham at amps.net Sat May 22 02:56:19 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 22 May 2021 08:56:19 +0100 Subject: [Tech1] Early TVT shows In-Reply-To: References: <1B285466-9A85-4657-BC05-44483E7676C5@vincent68.plus.com> <60a797bd.1c69fb81.9356f.b4eb@mx.google.com> Message-ID: <60a8b922.1c69fb81.fc489.29b0@mx.google.com> Hi David, If you have never seen it, there was a commemorative book published, celebrating the B & W?s Golden Rose win at Montreux. There are a couple of pics of the TVT control rooms, which I will try and scan for you. (BBC copyright, of course!) The music CD will be posted today, it might arrive To you on Monday. I think I mentioned TVT hosting Jazz 625 (60?s) in an earlier message. Regards Pat Sent from Mail for Windows 10 From: David Taylor Sent: 21 May 2021 20:34 To: patheigham Cc: Tech1 at tech-ops.co.uk Subject: Re: [Tech1] Early TVT shows Pat, Thanks for some nice descriptions of early '60's TVT. David T -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From dave.mdv at btinternet.com Sat May 22 04:38:53 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sat, 22 May 2021 10:38:53 +0100 Subject: [Tech1] He who hesitates is lost! Message-ID: It's the small ones you have to watch! Cheers, Dave -------------- next part -------------- A non-text attachment was scrubbed... Name: He who hesitates is lost.mp4 Type: video/mp4 Size: 1405229 bytes Desc: not available URL: From dnewbitt at fireflyuk.net Sat May 22 04:50:34 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sat, 22 May 2021 10:50:34 +0100 Subject: [Tech1] Bashir etc In-Reply-To: References: Message-ID: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> These simple few words will I'm sure resonate with many: What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. The BBC has much to learn but all perspective seems to have been lost by some who are using the findings to attack current members of staff and devalue every element of the corporation. ? Dan Walker (@mrdanwalker) May 21, 2021 As commented widely, Boris and those of his persuasion look set to use the whole affair as a heaven-sent weapon with which to cudgel the BBC in its entirety and potentially compromise its independence with appointed overseers. I find it hard to not feel desperately saddened - clearly all criticised parties are guilty as charged but there are countless worthy people who through the BBC have contributed hugely to our understanding of our own country and the wider world we live in. Dave Newbitt. -----Original Message----- From: Mike Giles via Tech1 Sent: Saturday, May 22, 2021 12:06 AM To: Tech Ops Subject: Re: [Tech1] Bashir etc Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. Mike G > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > wrote: > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > timing of this affair. > > A few questions - > > Diana did not appear to be forced into the interview, although it is true > she was deceived at some points. None the less, she seemed to be quite > relaxed to me when it was originally shown. She was in her thirties, > after all, even if she had been treated badly by Charles and family. > > Was she paid an appearance fee, and if so, how much was it? > > Why has it come out now, when there is discussion of Paul Dacre possibly > becoming the head of Ofcom? > > It's made to appear that other media , ITV and the red top press have > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's > campaign went on for years, even alledging it was deliberate. Remember the > NoW hacked phone scandal, with damages still being awarded behind closed > doors. > > I'm also getting a little tired of the poor little rich boys going on > about it. They're both adults now with access to the best counselling and > advice on handling this situation available to them. Instead they're > simply stoking the fire. And I don't believe their statements are > genuine, they've got PR consultant written all over them. > > > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From pat.heigham at amps.net Sat May 22 04:57:23 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 22 May 2021 10:57:23 +0100 Subject: [Tech1] He who hesitates is lost! In-Reply-To: References: Message-ID: <60a8d582.1c69fb81.a19be.7572@mx.google.com> Brilliant! Our family corgi made the best when my Mum upset a box of chocolates ? he went round like a hoover, not stopping to chew and swallow, just scooping up what he could before being hauled off!. Pat Sent from Mail for Windows 10 From: dave.mdv via Tech1 Sent: 22 May 2021 10:39 To: tech1 at tech-ops.co.uk; Phil; Dave; Richard Subject: [Tech1] He who hesitates is lost! It's the small ones you have to watch! Cheers, Dave -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sat May 22 05:16:16 2021 From: pat.heigham at amps.net (patheigham) Date: Sat, 22 May 2021 11:16:16 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> Message-ID: <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. Pat Sent from Mail for Windows 10 From: David Newbitt via Tech1 Sent: 22 May 2021 10:50 To: Mike Giles; Tech Ops Cc: dnewbitt at fireflyuk.net Subject: Re: [Tech1] Bashir etc These simple few words will I'm sure resonate with many: What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. The BBC has much to learn but all perspective seems to have been lost by some who are using the findings to attack current members of staff and devalue every element of the corporation. ? Dan Walker (@mrdanwalker) May 21, 2021 As commented widely, Boris and those of his persuasion look set to use the whole affair as a heaven-sent weapon with which to cudgel the BBC in its entirety and potentially compromise its independence with appointed overseers. I find it hard to not feel desperately saddened - clearly all criticised parties are guilty as charged but there are countless worthy people who through the BBC have contributed hugely to our understanding of our own country and the wider world we live in. Dave Newbitt. -----Original Message----- From: Mike Giles via Tech1 Sent: Saturday, May 22, 2021 12:06 AM To: Tech Ops Subject: Re: [Tech1] Bashir etc Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. Mike G > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > wrote: > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > timing of this affair. > > A few questions - > > Diana did not appear to be forced into the interview, although it is true > she was deceived at some points. None the less, she seemed to be quite > relaxed to me when it was originally shown. She was in her thirties, > after all, even if she had been treated badly by Charles and family. > > Was she paid an appearance fee, and if so, how much was it? > > Why has it come out now, when there is discussion of Paul Dacre possibly > becoming the head of Ofcom? > > It's made to appear that other media , ITV and the red top press have > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's > campaign went on for years, even alledging it was deliberate. Remember the > NoW hacked phone scandal, with damages still being awarded behind closed > doors. > > I'm also getting a little tired of the poor little rich boys going on > about it. They're both adults now with access to the best counselling and > advice on handling this situation available to them. Instead they're > simply stoking the fire. And I don't believe their statements are > genuine, they've got PR consultant written all over them. > > > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From alawrance1 at me.com Sat May 22 05:35:08 2021 From: alawrance1 at me.com (Alasdair Lawrance) Date: Sat, 22 May 2021 11:35:08 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> Message-ID: Dave - I'm sure your sadness is shared by many on this forum. I'm also incredibly angry at the double standards being applied - remember the 72pt headline on the front of the Daily Mail about the Supreme Court - 'Enemies of the People'? And nothing happened.... No comment, no censure, nothing. And the then editor, Paul Dacre? Alasdair Lawrance alawrance1 at me.com Don?t blame me, I voted Remain. > On 22 May 2021, at 10:50, David Newbitt via Tech1 wrote: > > These simple few words will I'm sure resonate with many: > > What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. > The BBC has much to learn but all perspective seems to have been lost by some > who are using the findings to attack current members of staff and devalue every > element of the corporation. > > ? Dan Walker (@mrdanwalker) May 21, 2021 > > As commented widely, Boris and those of his persuasion look set to use the whole > affair as a heaven-sent weapon with which to cudgel the BBC in its entirety and > potentially compromise its independence with appointed overseers. > > I find it hard to not feel desperately saddened - clearly all criticised parties are > guilty as charged but there are countless worthy people who through the BBC > have contributed hugely to our understanding of our own country and the wider > world we live in. > > Dave Newbitt. > > > > > > > > -----Original Message----- From: Mike Giles via Tech1 > Sent: Saturday, May 22, 2021 12:06 AM > To: Tech Ops > Subject: Re: [Tech1] Bashir etc > > Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. > > Mike G > >> On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 wrote: >> >> ?Like a lot of people, I suspect, I'm more than a little suspect about the timing of this affair. >> >> A few questions - >> >> Diana did not appear to be forced into the interview, although it is true she was deceived at some points. None the less, she seemed to be quite relaxed to me when it was originally shown. She was in her thirties, after all, even if she had been treated badly by Charles and family. >> >> Was she paid an appearance fee, and if so, how much was it? >> >> Why has it come out now, when there is discussion of Paul Dacre possibly becoming the head of Ofcom? >> >> It's made to appear that other media , ITV and the red top press have nothing to do with Diana's death, which was undoubtedly tragic. Fayad's campaign went on for years, even alledging it was deliberate. Remember the NoW hacked phone scandal, with damages still being awarded behind closed doors. >> >> I'm also getting a little tired of the poor little rich boys going on about it. They're both adults now with access to the best counselling and advice on handling this situation available to them. Instead they're simply stoking the fire. And I don't believe their statements are genuine, they've got PR consultant written all over them. >> >> >> >> Alasdair Lawrance >> >> Don?t blame me, I voted Remain. >> >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sat May 22 06:14:01 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sat, 22 May 2021 12:14:01 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> Message-ID: <593093d4addavesound@btinternet.com> In article <60a8d9f0.1c69fb81.a6f72.8025 at mx.google.com>, patheigham via Tech1 wrote: > Bashir?s shenanigans would seem more appropriately to have been > engineered by a commercial channel ? surely not the BBC. Really, Pat? Remember Death on the Rock? Made by an ITV company? The standard of journalism across all UK TV is generally something to be proud of. Unlike in many countries. The thing that disgusted me was the cover up going right to the top of the BBC at the time, and some employees having their careers blighted by telling the truth. -- Dave Plowman dave at davesound.co.uk London SW 12 From graeme.wall at icloud.com Sat May 22 06:18:15 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sat, 22 May 2021 12:18:15 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <593093d4addavesound@btinternet.com> References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> <593093d4addavesound@btinternet.com> Message-ID: <8F873173-23E4-4A55-9F12-D55E0198F76E@icloud.com> And look what happened to Thames (and ITV) as a result. No ITV company has made such a programme since. ? Graeme Wall > On 22 May 2021, at 12:14, Dave Plowman via Tech1 wrote: > > In article <60a8d9f0.1c69fb81.a6f72.8025 at mx.google.com>, > patheigham via Tech1 wrote: >> Bashir?s shenanigans would seem more appropriately to have been >> engineered by a commercial channel ? surely not the BBC. > > Really, Pat? Remember Death on the Rock? Made by an ITV company? > > The standard of journalism across all UK TV is generally something to be > proud of. > > Unlike in many countries. > > The thing that disgusted me was the cover up going right to the top of the > BBC at the time, and some employees having their careers blighted by > telling the truth. > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From dnewbitt at fireflyuk.net Sat May 22 06:24:18 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sat, 22 May 2021 12:24:18 +0100 Subject: [Tech1] Bashir etc In-Reply-To: References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> Message-ID: <37C033331B4D4193A987FFEB89A806A0@DESKTOP6GGCRV1> A timely moment to mention Paul Dacre, Alasdair: Bid to stop Paul Dacre taking over at TV regulator Industry and government figures stage 11th-hour effort to prevent former Mail editor being appointed chair of Ofcom Paul Dacre is known to have strong views about the BBC, which he would regulate if appointed to Ofcom. Michael Savage Sun 2 May 2021 10.30 BST A last-ditch campaign to stop former Daily Mail editor Paul Dacre becoming chair of Britain?s national broadcasting regulator is being waged in Whitehall, the Observer understands. After a final shortlist of candidates was interviewed last week, industry and government figures have been touting former culture minister and Tory peer Ed Vaizey as better placed to oversee Ofcom, amid concern about Dacre?s criticisms of the BBC. A final decision is expected this month. Unease at Dacre?s candidacy has emerged inside and outside government. As chair of Ofcom, Dacre, who once called the BBC ?too bloody big, too bloody pervasive and too bloody powerful?, will have a major role in regulating the corporation. It is understood that figures in the Department for Digital, Culture, Media and Sport (DCMS) and Downing Street have concerns and regard Vaizey, who would still represent a political appointment, as a compromise. Broadcasting figures have been privately warning that Dacre does not have the technical and economic expertise for the Ofcom job. Greg Dyke, the former BBC director general, said Dacre would be ?totally unsuitable?. ?He was a brilliant editor of the Daily Mail but showed no evidence that he began to understand what impartiality meant,? Dyke said. ?His long-term antagonism towards the BBC would make him absolutely the wrong person to chair their regulator. On top of that, what does he know about the telecoms industry? In fact when I first learned that Mr Dacre was a candidate to be the next chair of Ofcom, I thought someone was joking with me. Let?s hope that turns out to be the case.? While concerns persist that he would engage in a ?culture war? with the BBC, Dacre is said to be most interested in taking on the big digital companies such as Facebook and Google, using new and forthcoming powers to regulate video-sharing platforms and tackle so-called ?online harms?. Vaizey, meanwhile, has made it clear he has ?trouble with the sort of culture war that the government wants to undertake?. Neither Dacre nor Vaizey wished to comment. There have already been concerns about the make-up of the panel asked to put forward suitable candidates to ministers. It includes Ian Livingston, the Tory peer and former chief executive of BT, and Paul Potts, a director of Times Newspapers. There have been suggestions Potts was appointed after an earlier member resigned. DCMS did not comment, but it is understood Potts has been on the panel since the official launch of the process. A string of recent appointments has led to accusations that the government is trying to politicise control of broadcast media. It was announced last week that Robbie Gibb, the former Downing Street communications director, is to join the BBC?s board. Gibb, previously head of BBC Westminster, played a key role in the early stages of the formation of the GB News channel, which is due to launch soon. The chair of GB News, Andrew Neil, has said: ?The direction of news debate in Britain is increasingly woke and out of touch with the majority of its people.? Meanwhile, the government has already appointed Richard Sharp, an adviser to Chancellor Rishi Sunak and a Tory party donor, as chair of the BBC. There are concerns about a wider attempt to politicise appointments to cultural and media positions. The government has already vetoed the reappointment of two women to Channel 4?s board of directors, while Charles Dunstone, the billionaire founder of Carphone Warehouse, has quit as chair of the Royal Museums Greenwich after ministers opposed the reappointment of a trustee who backed ?decolonising? the curriculum. As well as concerns over Dacre?s impartiality, other senior figures have suggested the Ofcom job involves a myriad of technical, economic and legal discussions that may simply frustrate him. While saying he could not advise on who his successor should be, Lord Burns, who left as Ofcom?s chair late last year, told a conference last week: ?I was not troubled by having to get involved from time to time in some quite detailed issues where the executive team do not see eye to eye with the companies Ofcom regulates. Finally, I was not dismayed at having to spend significant time with lawyers ? I saw more of my legal colleagues than in any other job. The communications industry can be quite litigious.? I hope this Observer piece can be viewed as valid discussion material rather than overt political viewpoint, Dave Newbitt. From: Alasdair Lawrance via Tech1 Sent: Saturday, May 22, 2021 11:35 AM To: David Newbitt Cc: Tech Ops List Subject: Re: [Tech1] Bashir etc Dave - I'm sure your sadness is shared by many on this forum. I'm also incredibly angry at the double standards being applied - remember the 72pt headline on the front of the Daily Mail about the Supreme Court - 'Enemies of the People'? And nothing happened.... No comment, no censure, nothing. And the then editor, Paul Dacre? Alasdair Lawrance alawrance1 at me.com Don?t blame me, I voted Remain. On 22 May 2021, at 10:50, David Newbitt via Tech1 wrote: These simple few words will I'm sure resonate with many: What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. The BBC has much to learn but all perspective seems to have been lost by some who are using the findings to attack current members of staff and devalue every element of the corporation. ? Dan Walker (@mrdanwalker) May 21, 2021 As commented widely, Boris and those of his persuasion look set to use the whole affair as a heaven-sent weapon with which to cudgel the BBC in its entirety and potentially compromise its independence with appointed overseers. I find it hard to not feel desperately saddened - clearly all criticised parties are guilty as charged but there are countless worthy people who through the BBC have contributed hugely to our understanding of our own country and the wider world we live in. Dave Newbitt. -----Original Message----- From: Mike Giles via Tech1 Sent: Saturday, May 22, 2021 12:06 AM To: Tech Ops Subject: Re: [Tech1] Bashir etc Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. Mike G On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 wrote: ?Like a lot of people, I suspect, I'm more than a little suspect about the timing of this affair. A few questions - Diana did not appear to be forced into the interview, although it is true she was deceived at some points. None the less, she seemed to be quite relaxed to me when it was originally shown. She was in her thirties, after all, even if she had been treated badly by Charles and family. Was she paid an appearance fee, and if so, how much was it? Why has it come out now, when there is discussion of Paul Dacre possibly becoming the head of Ofcom? It's made to appear that other media , ITV and the red top press have nothing to do with Diana's death, which was undoubtedly tragic. Fayad's campaign went on for years, even alledging it was deliberate. Remember the NoW hacked phone scandal, with damages still being awarded behind closed doors. I'm also getting a little tired of the poor little rich boys going on about it. They're both adults now with access to the best counselling and advice on handling this situation available to them. Instead they're simply stoking the fire. And I don't believe their statements are genuine, they've got PR consultant written all over them. Alasdair Lawrance Don?t blame me, I voted Remain. -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From ohbytheway.tv at gmail.com Sat May 22 07:23:29 2021 From: ohbytheway.tv at gmail.com (David Denness) Date: Sat, 22 May 2021 13:23:29 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> References: <72FBE01372684B389798C292A4C05067@DESKTOP6GGCRV1> <60a8d9f0.1c69fb81.a6f72.8025@mx.google.com> Message-ID: <002d01d74f05$4688a4f0$d399eed0$@gmail.com> Pat, your pro BBC bias is reprehensible. Independent companies have regularly made highly lauded factual documentaries as much as the BBC. ITN have regularly won awards for their investigations. Various journalists are also claiming Diana had already been in conversation with Panorama and the Daily Telegraph, amongst others, about telling her story. The BBC bashing is being largely being carried out by the right wing branches of the press who always want the wings of the BBC to be clipped, or better still abolished. And in WW2 the BBC was very much the voice of what the government wanted people to believe, not necessarily the truth and certainly not full of integrity at all times Dave D David Denness 2 Cambridge Park Court Twickenham TW1 2JN 07836 371108 From: Tech1 On Behalf Of patheigham via Tech1 Sent: 22 May 2021 11:16 To: David Newbitt ; Mike Giles ; Tech Ops Cc: dnewbitt at fireflyuk.net Subject: Re: [Tech1] Bashir etc Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. Pat Sent from Mail for Windows 10 From: David Newbitt via Tech1 Sent: 22 May 2021 10:50 To: Mike Giles ; Tech Ops Cc: dnewbitt at fireflyuk.net Subject: Re: [Tech1] Bashir etc These simple few words will I'm sure resonate with many: What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. The BBC has much to learn but all perspective seems to have been lost by some who are using the findings to attack current members of staff and devalue every element of the corporation. ? Dan Walker (@mrdanwalker) May 21, 2021 As commented widely, Boris and those of his persuasion look set to use the whole affair as a heaven-sent weapon with which to cudgel the BBC in its entirety and potentially compromise its independence with appointed overseers. I find it hard to not feel desperately saddened - clearly all criticised parties are guilty as charged but there are countless worthy people who through the BBC have contributed hugely to our understanding of our own country and the wider world we live in. Dave Newbitt. -----Original Message----- From: Mike Giles via Tech1 Sent: Saturday, May 22, 2021 12:06 AM To: Tech Ops Subject: Re: [Tech1] Bashir etc Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention but two significant precedents to the Bashir interview, although he was clearly an absolute clot to have involved fake bank statements. Mike G > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > > wrote: > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > timing of this affair. > > A few questions - > > Diana did not appear to be forced into the interview, although it is true > she was deceived at some points. None the less, she seemed to be quite > relaxed to me when it was originally shown. She was in her thirties, > after all, even if she had been treated badly by Charles and family. > > Was she paid an appearance fee, and if so, how much was it? > > Why has it come out now, when there is discussion of Paul Dacre possibly > becoming the head of Ofcom? > > It's made to appear that other media , ITV and the red top press have > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's > campaign went on for years, even alledging it was deliberate. Remember the > NoW hacked phone scandal, with damages still being awarded behind closed > doors. > > I'm also getting a little tired of the poor little rich boys going on > about it. They're both adults now with access to the best counselling and > advice on handling this situation available to them. Instead they're > simply stoking the fire. And I don't believe their statements are > genuine, they've got PR consultant written all over them. > > > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk _____ This email has been checked for viruses by Avast antivirus software. www.avast.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Sat May 22 08:29:47 2021 From: alanaudio at me.com (Alan Taylor) Date: Sat, 22 May 2021 14:29:47 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <002d01d74f05$4688a4f0$d399eed0$@gmail.com> References: <002d01d74f05$4688a4f0$d399eed0$@gmail.com> Message-ID: <1A7E723A-ABE8-4D18-A7BC-62DE50ED572F@me.com> I think that Dave D has touched upon a very significant point. Diana was believed to have been in discussions with a number of organisations in order to tell her side of the story. Clearly the use of fake documents 25 years ago and the subsequent cover-up was wrong, but that deception resulted in Diana giving her interview to Bashir. If it hadn?t been with him, a virtually identical set of revelations would have emerged via another interview. Bashir resorted to deception to get the interview instead of his rivals getting it. I would contrast this with the phone hacking scandal which was perpetrated by a number of newspapers. Diana consented to give an interview, knew that she was doing so, and her words were televised. With the answerphone hacks, journalists from some newspapers who are currently having a go at the BBC gained unauthorised access to personal messages and printed stories based on those messages with neither the knowledge nor consent of the people involved. There are stunning levels of hypocrisy flying about at the moment from the press and politicians. Some of the politicians criticising the BBC deception seem to have something of a blind spot when it comes to their own deception. Alan Taylor > On 22 May 2021, at 13:24, David Denness via Tech1 wrote: > > ? > Pat, your pro BBC bias is reprehensible. > > Independent companies have regularly made highly lauded factual documentaries as much as the BBC. ITN have regularly won awards for their investigations. > Various journalists are also claiming Diana had already been in conversation with Panorama and the Daily Telegraph, amongst others, about telling her story. > The BBC bashing is being largely being carried out by the right wing branches of the press who always want the wings of the BBC to be clipped, or better still abolished. > And in WW2 the BBC was very much the voice of what the government wanted people to believe, not necessarily the truth and certainly not full of integrity at all times > > Dave D > > David Denness > 2 Cambridge Park Court > Twickenham TW1 2JN > 07836 371108 > > > From: Tech1 On Behalf Of patheigham via Tech1 > Sent: 22 May 2021 11:16 > To: David Newbitt ; Mike Giles ; Tech Ops > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc > > Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. > Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. > When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. > The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. > > Pat > > > Sent from Mail for Windows 10 > > From: David Newbitt via Tech1 > Sent: 22 May 2021 10:50 > To: Mike Giles; Tech Ops > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc > > These simple few words will I'm sure resonate with many: > > What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. > The BBC has much to learn but all perspective seems to have been lost by > some > who are using the findings to attack current members of staff and devalue > every > element of the corporation. > > ? Dan Walker (@mrdanwalker) May 21, 2021 > > As commented widely, Boris and those of his persuasion look set to use the > whole > affair as a heaven-sent weapon with which to cudgel the BBC in its entirety > and > potentially compromise its independence with appointed overseers. > > I find it hard to not feel desperately saddened - clearly all criticised > parties are > guilty as charged but there are countless worthy people who through the BBC > have contributed hugely to our understanding of our own country and the > wider > world we live in. > > Dave Newbitt. > > > > > > > > -----Original Message----- > From: Mike Giles via Tech1 > Sent: Saturday, May 22, 2021 12:06 AM > To: Tech Ops > Subject: Re: [Tech1] Bashir etc > > Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention > but two significant precedents to the Bashir interview, although he was > clearly an absolute clot to have involved fake bank statements. > > Mike G > > > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > > wrote: > > > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > > timing of this affair. > > > > A few questions - > > > > Diana did not appear to be forced into the interview, although it is true > > she was deceived at some points. None the less, she seemed to be quite > > relaxed to me when it was originally shown. She was in her thirties, > > after all, even if she had been treated badly by Charles and family. > > > > Was she paid an appearance fee, and if so, how much was it? > > > > Why has it come out now, when there is discussion of Paul Dacre possibly > > becoming the head of Ofcom? > > > > It's made to appear that other media , ITV and the red top press have > > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's > > campaign went on for years, even alledging it was deliberate. Remember the > > NoW hacked phone scandal, with damages still being awarded behind closed > > doors. > > > > I'm also getting a little tired of the poor little rich boys going on > > about it. They're both adults now with access to the best counselling and > > advice on handling this situation available to them. Instead they're > > simply stoking the fire. And I don't believe their statements are > > genuine, they've got PR consultant written all over them. > > > > > > > > Alasdair Lawrance > > > > Don?t blame me, I voted Remain. > > > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Sat May 22 08:42:22 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sat, 22 May 2021 14:42:22 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <1A7E723A-ABE8-4D18-A7BC-62DE50ED572F@me.com> References: <002d01d74f05$4688a4f0$d399eed0$@gmail.com> <1A7E723A-ABE8-4D18-A7BC-62DE50ED572F@me.com> Message-ID: <80515B13-406E-46F3-93F2-738851FBBA7E@icloud.com> It is no secret that the tory party want to reduce the BBC to a government controlled operation that sticks to the party line. ? Graeme Wall > On 22 May 2021, at 14:29, Alan Taylor via Tech1 wrote: > > I think that Dave D has touched upon a very significant point. Diana was believed to have been in discussions with a number of organisations in order to tell her side of the story. > > Clearly the use of fake documents 25 years ago and the subsequent cover-up was wrong, but that deception resulted in Diana giving her interview to Bashir. If it hadn?t been with him, a virtually identical set of revelations would have emerged via another interview. Bashir resorted to deception to get the interview instead of his rivals getting it. > > I would contrast this with the phone hacking scandal which was perpetrated by a number of newspapers. Diana consented to give an interview, knew that she was doing so, and her words were televised. With the answerphone hacks, journalists from some newspapers who are currently having a go at the BBC gained unauthorised access to personal messages and printed stories based on those messages with neither the knowledge nor consent of the people involved. > > There are stunning levels of hypocrisy flying about at the moment from the press and politicians. Some of the politicians criticising the BBC deception seem to have something of a blind spot when it comes to their own deception. > > Alan Taylor > > > >> On 22 May 2021, at 13:24, David Denness via Tech1 wrote: >> >> ? >> Pat, your pro BBC bias is reprehensible. >> >> Independent companies have regularly made highly lauded factual documentaries as much as the BBC. ITN have regularly won awards for their investigations. >> Various journalists are also claiming Diana had already been in conversation with Panorama and the Daily Telegraph, amongst others, about telling her story. >> The BBC bashing is being largely being carried out by the right wing branches of the press who always want the wings of the BBC to be clipped, or better still abolished. >> And in WW2 the BBC was very much the voice of what the government wanted people to believe, not necessarily the truth and certainly not full of integrity at all times >> >> Dave D >> >> David Denness >> 2 Cambridge Park Court >> Twickenham TW1 2JN >> 07836 371108 >> >> >> From: Tech1 On Behalf Of patheigham via Tech1 >> Sent: 22 May 2021 11:16 >> To: David Newbitt ; Mike Giles ; Tech Ops >> Cc: dnewbitt at fireflyuk.net >> Subject: Re: [Tech1] Bashir etc >> >> Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. >> Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. >> When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. >> The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. >> >> Pat >> >> >> Sent from Mail for Windows 10 >> >> From: David Newbitt via Tech1 >> Sent: 22 May 2021 10:50 >> To: Mike Giles; Tech Ops >> Cc: dnewbitt at fireflyuk.net >> Subject: Re: [Tech1] Bashir etc >> >> These simple few words will I'm sure resonate with many: >> >> What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. >> The BBC has much to learn but all perspective seems to have been lost by >> some >> who are using the findings to attack current members of staff and devalue >> every >> element of the corporation. >> >> ? Dan Walker (@mrdanwalker) May 21, 2021 >> >> As commented widely, Boris and those of his persuasion look set to use the >> whole >> affair as a heaven-sent weapon with which to cudgel the BBC in its entirety >> and >> potentially compromise its independence with appointed overseers. >> >> I find it hard to not feel desperately saddened - clearly all criticised >> parties are >> guilty as charged but there are countless worthy people who through the BBC >> have contributed hugely to our understanding of our own country and the >> wider >> world we live in. >> >> Dave Newbitt. >> >> >> >> >> >> >> >> -----Original Message----- >> From: Mike Giles via Tech1 >> Sent: Saturday, May 22, 2021 12:06 AM >> To: Tech Ops >> Subject: Re: [Tech1] Bashir etc >> >> Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention >> but two significant precedents to the Bashir interview, although he was >> clearly an absolute clot to have involved fake bank statements. >> >> Mike G >> >> > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 >> > wrote: >> > >> > ?Like a lot of people, I suspect, I'm more than a little suspect about the >> > timing of this affair. >> > >> > A few questions - >> > >> > Diana did not appear to be forced into the interview, although it is true >> > she was deceived at some points. None the less, she seemed to be quite >> > relaxed to me when it was originally shown. She was in her thirties, >> > after all, even if she had been treated badly by Charles and family. >> > >> > Was she paid an appearance fee, and if so, how much was it? >> > >> > Why has it come out now, when there is discussion of Paul Dacre possibly >> > becoming the head of Ofcom? >> > >> > It's made to appear that other media , ITV and the red top press have >> > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's >> > campaign went on for years, even alledging it was deliberate. Remember the >> > NoW hacked phone scandal, with damages still being awarded behind closed >> > doors. >> > >> > I'm also getting a little tired of the poor little rich boys going on >> > about it. They're both adults now with access to the best counselling and >> > advice on handling this situation available to them. Instead they're >> > simply stoking the fire. And I don't believe their statements are >> > genuine, they've got PR consultant written all over them. >> > >> > >> > >> > Alasdair Lawrance >> > >> > Don?t blame me, I voted Remain. >> > >> > >> > >> > -- >> > Tech1 mailing list >> > Tech1 at tech-ops.co.uk >> > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >> >> >> This email has been checked for viruses by Avast antivirus software. >> www.avast.com >> >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From paul at pgtmedia.co.uk Sun May 23 07:57:15 2021 From: paul at pgtmedia.co.uk (Paul Thackray) Date: Sun, 23 May 2021 13:57:15 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <002d01d74f05$4688a4f0$d399eed0$@gmail.com> Message-ID: An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Sun May 23 07:59:25 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sun, 23 May 2021 13:59:25 +0100 Subject: [Tech1] Bashir etc In-Reply-To: References: Message-ID: <3672F242-0F44-4BC6-9EFC-245172C33BBE@icloud.com> That was because every piece had to be transmitted back through MoD channels so thy had total control. Pity they didn?t pay attenton to content before Bluff Cove. ? Graeme Wall > On 23 May 2021, at 13:57, Paul Thackray via Tech1 wrote: > > Even in the Falklands war every news piece was vetted by the COI. Not up beat enough, it was banned from broadcast. (foreign broadcasters had to follow the same vetting or got nothing) > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin; http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > > From: tech1 at tech-ops.co.uk > Sent: 22 May 2021 13:23 > To: pat.heigham at amps.net; dnewbitt at fireflyuk.net; mibridge at mac.com > Reply to: ohbytheway.tv at gmail.com > Cc: tech1 at tech-ops.co.uk > Subject: Re: [Tech1] Bashir etc > > Pat, your pro BBC bias is reprehensible. > > Independent companies have regularly made highly lauded factual documentaries as much as the BBC. ITN have regularly won awards for their investigations. > Various journalists are also claiming Diana had already been in conversation with Panorama and the Daily Telegraph, amongst others, about telling her story. > The BBC bashing is being largely being carried out by the right wing branches of the press who always want the wings of the BBC to be clipped, or better still abolished. > And in WW2 the BBC was very much the voice of what the government wanted people to believe, not necessarily the truth and certainly not full of integrity at all times > > Dave D > > David Denness > 2 Cambridge Park Court > Twickenham TW1 2JN > 07836 371108 > > > From: Tech1 On Behalf Of patheigham via Tech1 > Sent: 22 May 2021 11:16 > To: David Newbitt ; Mike Giles ; Tech Ops > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc > > Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. > Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. > When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. > The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. > > Pat > > > Sent from Mail for Windows 10 > > From: David Newbitt via Tech1 > Sent: 22 May 2021 10:50 > To: Mike Giles; Tech Ops > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc > > These simple few words will I'm sure resonate with many: > > What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. > The BBC has much to learn but all perspective seems to have been lost by > some > who are using the findings to attack current members of staff and devalue > every > element of the corporation. > > ? Dan Walker (@mrdanwalker) May 21, 2021 > > As commented widely, Boris and those of his persuasion look set to use the > whole > affair as a heaven-sent weapon with which to cudgel the BBC in its entirety > and > potentially compromise its independence with appointed overseers. > > I find it hard to not feel desperately saddened - clearly all criticised > parties are > guilty as charged but there are countless worthy people who through the BBC > have contributed hugely to our understanding of our own country and the > wider > world we live in. > > Dave Newbitt. > > > > > > > > -----Original Message----- > From: Mike Giles via Tech1 > Sent: Saturday, May 22, 2021 12:06 AM > To: Tech Ops > Subject: Re: [Tech1] Bashir etc > > Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention > but two significant precedents to the Bashir interview, although he was > clearly an absolute clot to have involved fake bank statements. > > Mike G > > > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > > wrote: > > > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > > timing of this affair. > > > > A few questions - > > > > Diana did not appear to be forced into the interview, although it is true > > she was deceived at some points. None the less, she seemed to be quite > > relaxed to me when it was originally shown. She was in her thirties, > > after all, even if she had been treated badly by Charles and family. > > > > Was she paid an appearance fee, and if so, how much was it? > > > > Why has it come out now, when there is discussion of Paul Dacre possibly > > becoming the head of Ofcom? > > > > It's made to appear that other media , ITV and the red top press have > > nothing to do with Diana's death, which was undoubtedly tragic. Fayad's > > campaign went on for years, even alledging it was deliberate. Remember the > > NoW hacked phone scandal, with damages still being awarded behind closed > > doors. > > > > I'm also getting a little tired of the poor little rich boys going on > > about it. They're both adults now with access to the best counselling and > > advice on handling this situation available to them. Instead they're > > simply stoking the fire. And I don't believe their statements are > > genuine, they've got PR consultant written all over them. > > > > > > > > Alasdair Lawrance > > > > Don?t blame me, I voted Remain. > > > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From paul at pgtmedia.co.uk Sun May 23 08:03:06 2021 From: paul at pgtmedia.co.uk (Paul Thackray) Date: Sun, 23 May 2021 14:03:06 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <3672F242-0F44-4BC6-9EFC-245172C33BBE@icloud.com> Message-ID: Yup. Refused to allow links and the like to be taken by the broadcasters so they could control the output. I found it intesting listening to the pieces coming in at LBH and seeing which were allowed and which not. Paul Thackray PGT Media Consulting Ltd. +44 7802 243979 Mail; paul at pgtmedia.co.uk Web; http://www.pgtmedia.co.uk Linkedin;?? http://uk.linkedin.com/pub/paul-thackray/19/379/746 IMDB; http://www.imdb.com/name/nm1488554/ ? Original Message ? From: graeme.wall at icloud.com Sent: 23 May 2021 13:59 To: paul at pgtmedia.co.uk Cc: ohbytheway.tv at gmail.com; pat.heigham at amps.net; dnewbitt at fireflyuk.net; mibridge at mac.com; tech1 at tech-ops.co.uk Subject: Re: [Tech1] Bashir etc That was because every piece had to be transmitted back through MoD channels so thy had total control. Pity they didn?t pay attenton to content before Bluff Cove. ? Graeme Wall > On 23 May 2021, at 13:57, Paul Thackray via Tech1 wrote: > > Even in the Falklands war every news piece was vetted by the COI. Not up beat enough, it was banned from broadcast. (foreign broadcasters had to follow the same vetting or got nothing)? > > Paul Thackray > PGT Media Consulting Ltd. > +44 7802 243979 > Mail; paul at pgtmedia.co.uk > Web; http://www.pgtmedia.co.uk > Linkedin;?? http://uk.linkedin.com/pub/paul-thackray/19/379/746 > IMDB; http://www.imdb.com/name/nm1488554/ > > From: tech1 at tech-ops.co.uk > Sent: 22 May 2021 13:23 > To: pat.heigham at amps.net; dnewbitt at fireflyuk.net; mibridge at mac.com > Reply to: ohbytheway.tv at gmail.com > Cc: tech1 at tech-ops.co.uk > Subject: Re: [Tech1] Bashir etc > > Pat, your pro BBC bias is reprehensible. >? > Independent companies have regularly made highly lauded factual documentaries as much as the BBC. ITN have regularly won awards for their investigations. > Various journalists are also claiming Diana had already been in conversation with Panorama and the Daily Telegraph, amongst others, about telling her story. > The BBC bashing is being largely being carried out by the right wing branches of the press who always want the wings of the BBC to be clipped, or better still abolished. > And in WW2 the BBC was very much the voice of what the government wanted people to believe, not necessarily the truth and certainly not full of integrity at all times >? > Dave D >? > David Denness > 2 Cambridge Park Court > Twickenham TW1 2JN > 07836 371108 >? >? > From:? Tech1 On Behalf Of patheigham via Tech1 > Sent: 22 May 2021 11:16 > To:? David Newbitt ; Mike Giles ; Tech Ops > Cc:? dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc >? > Bashir?s shenanigans would seem more appropriately to have been engineered by a commercial channel ? surely not the BBC. > Was it John Birt, put in charge by Thatcher to undermine the integrity of the Corporation? Putting control in the hands of the Government. > When nefarious factions wish to take over a country, they firstly occupy the broadcasting organisations, as this is a perfect channel for propaganda. > The integrity of the BBC was held in high regard during WW2 as the population of occupied countries relied on the BBC to issue the truth, surreptitiously listened to on radios carefully hidden. >? > Pat >? >? > Sent from Mail for Windows 10 >? > From: David Newbitt via Tech1 > Sent: 22 May 2021 10:50 > To: Mike Giles; Tech Ops > Cc: dnewbitt at fireflyuk.net > Subject: Re: [Tech1] Bashir etc >? > These simple few words will I'm sure resonate with many: >? > What happened in 1995 ? highlighted in the #DysonReport ? was clearly awful. > The BBC has much to learn but all perspective seems to have been lost by > some > who are using the findings to attack current members of staff and devalue > every > element of the corporation. >? > ? Dan Walker (@mrdanwalker) May 21, 2021 >? > As commented widely, Boris and those of his persuasion look set to use the > whole > affair as a heaven-sent weapon with which to cudgel the BBC in its entirety > and > potentially compromise its independence with appointed overseers. >? > I find it hard to not feel desperately saddened - clearly all criticised > parties are > guilty as charged but there are countless worthy people who through the BBC > have contributed hugely to our understanding of our own country and the > wider > world we live in. >? > Dave Newbitt. >? >? >? >? >? >? >? > -----Original Message----- > From: Mike Giles via Tech1 > Sent: Saturday, May 22, 2021 12:06 AM > To: Tech Ops > Subject: Re: [Tech1] Bashir etc >? > Andrew Morton?s book and Dimbleby J?s interview with Charlie boy, to mention > but two significant precedents to the Bashir interview, although he was > clearly an absolute clot to have involved fake bank statements. >? > Mike G >? > > On 21 May 2021, at 22:25, Alasdair Lawrance via Tech1 > > wrote: > > > > ?Like a lot of people, I suspect, I'm more than a little suspect about the > > timing of this affair. > > > > A few questions - > > > > Diana did not appear to be forced into the interview, although it is true > > she was deceived at some points. None the less, she seemed to be quite > > relaxed to me when it was originally shown.? She was in her thirties, > > after all, even if she had been treated badly by Charles and family. > > > > Was she paid an appearance fee, and if so, how much was it? > > > > Why has it come out now, when there is discussion of Paul Dacre possibly > > becoming the head of Ofcom? > > > > It's made to appear that other media , ITV and the red top press have > > nothing to do with Diana's? death, which was undoubtedly tragic. Fayad's > > campaign went on for years, even alledging it was deliberate. Remember the > > NoW hacked phone scandal, with damages still being awarded behind closed > > doors. > > > > I'm also getting a little tired of the poor little rich boys going on > > about it. They're both adults now with access to the best counselling and > > advice on handling this situation available to them. Instead they're > > simply stoking the fire.? And I don't believe their statements are > > genuine, they've got PR consultant written all over them. > > > > > > > > Alasdair Lawrance > > > > Don?t blame me, I voted Remain. > > > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >? > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >? >? > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >? >? > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From alanaudio at me.com Sun May 23 08:33:28 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 23 May 2021 14:33:28 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <3672F242-0F44-4BC6-9EFC-245172C33BBE@icloud.com> References: <3672F242-0F44-4BC6-9EFC-245172C33BBE@icloud.com> Message-ID: <382C1C07-CF3C-4E6F-85C8-28D3D5A2A545@me.com> Come to that, it?s a pity they didn?t listen to Captain Baker of HMS Endurance, who had been patrolling the South Atlantic for years. Long before the Falklands war, he was reporting that Argentina looked like they were preparing to invade the Falklands. His warnings were disregarded. Alan Taylor > On 23 May 2021, at 13:59, Graeme Wall via Tech1 wrote: > > ?Pity they didn?t pay attenton to content before Bluff Cove. > ? > Graeme Wall From graeme.wall at icloud.com Sun May 23 09:02:10 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Sun, 23 May 2021 15:02:10 +0100 Subject: [Tech1] Bashir etc In-Reply-To: <382C1C07-CF3C-4E6F-85C8-28D3D5A2A545@me.com> References: <3672F242-0F44-4BC6-9EFC-245172C33BBE@icloud.com> <382C1C07-CF3C-4E6F-85C8-28D3D5A2A545@me.com> Message-ID: <7F392570-E3F5-4A3C-A718-B7E00CEEA233@icloud.com> The British ambassador to BA was saying much the same thing but the government was too busy trying to self off the navy?s ships to pay for tax cuts to pay attention. Am I being cynical in noting that our latest aircraft carrier is on its way to be demonstrated to the same potential buyers? ? Graeme Wall > On 23 May 2021, at 14:33, Alan Taylor via Tech1 wrote: > > Come to that, it?s a pity they didn?t listen to Captain Baker of HMS Endurance, who had been patrolling the South Atlantic for years. Long before the Falklands war, he was reporting that Argentina looked like they were preparing to invade the Falklands. His warnings were disregarded. > > Alan Taylor > >> On 23 May 2021, at 13:59, Graeme Wall via Tech1 wrote: >> >> ?Pity they didn?t pay attenton to content before Bluff Cove. >> ? >> Graeme Wall > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From relong at btinternet.com Tue May 25 07:31:17 2021 From: relong at btinternet.com (Roger E Long) Date: Tue, 25 May 2021 13:31:17 +0100 Subject: [Tech1] Bashir etc In-Reply-To: References: Message-ID: <8CCD63F2-08E9-4781-B2FC-45862BFC5D69@btinternet.com> That Bashir attempted forgery was a deception to far even for Panorama (Panic and Drama!) That the BBC rehired him in 2016 as Religious correspondent and then promoted him to Editor Religion defies belief. OFCOM is far from evenhanded, as is the Electoral Commission Churchill was dissatisfied with notorious weak BBC management in 1943 , he wanted Ed Murrow the celebrated CBS war correspondent in London to be BBC Joint Director General, Murrow seriously considered it. Nothing much changes at the Beeb. Roger > On 21 May 2021, at 22:24, Alasdair Lawrance via Tech1 wrote: > > Like a lot of people, I suspect, I'm more than a little suspect about the timing of this affair. > > A few questions - > > Diana did not appear to be forced into the interview, although it is true she was deceived at some points. None the less, she seemed to be quite relaxed to me when it was originally shown. She was in her thirties, after all, even if she had been treated badly by Charles and family. > > Was she paid an appearance fee, and if so, how much was it? > > Why has it come out now, when there is discussion of Paul Dacre possibly becoming the head of Ofcom? > > It's made to appear that other media , ITV and the red top press have nothing to do with Diana's death, which was undoubtedly tragic. Fayad's campaign went on for years, even alledging it was deliberate. Remember the NoW hacked phone scandal, with damages still being awarded behind closed doors. > > I'm also getting a little tired of the poor little rich boys going on about it. They're both adults now with access to the best counselling and advice on handling this situation available to them. Instead they're simply stoking the fire. And I don't believe their statements are genuine, they've got PR consultant written all over them. > > > > Alasdair Lawrance > > Don?t blame me, I voted Remain. > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From bernie833 at gmail.com Wed May 26 06:15:39 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Wed, 26 May 2021 12:15:39 +0100 Subject: [Tech1] Sort of slightly disorganised Message-ID: We few, we happy few, we band of brothers..... Well, we got our table for six, though we were only five.? If there had been other tables we wouldn't have been able to fraternise, even though, very close? behind twice vaccinated Garth, there was another table of six who almost certainly had not been vaccinated, being too young.? If you sit in your seat and just turn around, is that against the rules?? Garth was told off for not wearing a mask to the loo, though I got away with it, it not having crossed my mind.? We had an excellent chatty lunch - no hugging of course -? with added joy at the end when Mr Neill produced a 25% off voucher. We were supposed to use the Nicholson's app via a QR code on the table, but it didn't work, so we ordered and they served as normal. It was my birthday, so another restaurant in the evening with my wife. Too much food!! Apart from the ever stranger rules, London feels fairly normal, the usual number of people on the Thames path, and on the train from Waterloo. I sort of assume that on June 21st it all magically goes back to normal, so next disorganised in early August. B -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: obpgjdblkogphlbk.png Type: image/png Size: 657756 bytes Desc: not available URL: From pat.heigham at amps.net Wed May 26 07:29:46 2021 From: pat.heigham at amps.net (patheigham) Date: Wed, 26 May 2021 13:29:46 +0100 Subject: [Tech1] Bashir/Diana Message-ID: <60ae3f3a.1c69fb81.cc858.d67c@mx.google.com> For those of you interested in the Bashir/Diana shenanigans ? C4 is showing a programme: ?The Diana Interview: the Truth behind the Scandal? (FV 4, 7 in Wales) Sat 29th May 8:30 pm, repeated Sun 4Seven (FV48) 9:00 pm. I was amused by the juxtaposition of two films on Talking Pictures TV Mon 31st ? ?The Night We Dropped a Clanger? followed shortly by ?The Brass Monkey?. Pat Sent from Mail for Windows 10 -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From graeme.wall at icloud.com Wed May 26 07:47:11 2021 From: graeme.wall at icloud.com (Graeme Wall) Date: Wed, 26 May 2021 13:47:11 +0100 Subject: [Tech1] Sort of slightly disorganised In-Reply-To: References: Message-ID: <6C1B3D23-5EC5-4FF3-AE36-6248FF0ACE48@icloud.com> Very nice to get back to something approaching normal! Sent from my iPhone > On 26 May 2021, at 12:16, Bernard Newnham via Tech1 wrote: > > ? We few, we happy few, we band of brothers..... > > Well, we got our table for six, though we were only five. If there had been other tables we wouldn't have been able to fraternise, even though, very close behind twice vaccinated Garth, there was another table of six who almost certainly had not been vaccinated, being too young. If you sit in your seat and just turn around, is that against the rules? Garth was told off for not wearing a mask to the loo, though I got away with it, it not having crossed my mind. We had an excellent chatty lunch - no hugging of course - with added joy at the end when Mr Neill produced a 25% off voucher. We were supposed to use the Nicholson's app via a QR code on the table, but it didn't work, so we ordered and they served as normal. > > It was my birthday, so another restaurant in the evening with my wife. Too much food!! > > Apart from the ever stranger rules, London feels fairly normal, the usual number of people on the Thames path, and on the train from Waterloo. I sort of assume that on June 21st it all magically goes back to normal, so next disorganised in early August. > > B > > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From techtone at protonmail.com Wed May 26 15:53:38 2021 From: techtone at protonmail.com (techtone) Date: Wed, 26 May 2021 20:53:38 +0000 Subject: [Tech1] Talkback tales Message-ID: Talk about mis-information, amazing ignorance about how we (used to) work. https://www.youtube.com/watch?v=GaL5sOClpBc Thank goodness it's not one of my pictures of Doug Watson, do you think he can sue? TeaTeaFN - Tony Sent with [ProtonMail](https://protonmail.com) Secure Email. -------------- next part -------------- An HTML attachment was scrubbed... URL: From ggstable at mac.com Fri May 28 10:19:04 2021 From: ggstable at mac.com (GRAHAM GILES) Date: Fri, 28 May 2021 16:19:04 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> Message-ID: I have found a Tech Ops. Staff list for August 1974. There were 20 crews. The Senior Cameramen were - 1 Routledge, 2 Wilkins, 3 Taylor, 4 Poulter, 5 Atkinson, 6 Thomson, 7 Green, 8 Peverall, 9 Kay, 10 Granger, 11 Wheal, 12 Baxter, 13 Ware, 14 Mutton, 15 Gibb, 16 Major, 17 Hills, 18 Reid, 19 Fenna, 20 Feld. Each crew had 4 other Cameramen and a Camera Assistant. That makes 120 all told. Pool staff and other camera assistants numbered 40. There were 72 Tech.Managers 1 & 2, and 50 vision staff. There were 42 Sound Sups., 3 Sound Assitants on each crew, plus 61 others for Gram.Ops. and Pool, 23 secretaries/clerks, 12 section managers, 3 H.Tels (Section heads) - and HTO was Phil Ward. What an empire ! Best wishes to all Graham Giles Visit me at - www.grahamgiles.net and also at http://www.flickr.com/photos/ggstable/albums -------------- next part -------------- An HTML attachment was scrubbed... URL: From alec.bray.2 at gmail.com Fri May 28 10:49:53 2021 From: alec.bray.2 at gmail.com (Alec Bray) Date: Fri, 28 May 2021 16:49:53 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> Message-ID: <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> Hi, Graham's staff list from 1974 is very interesting.? I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967.? What were the Promotion prospects - apart from TM1, 2?? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! I am assuming that? Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Fri May 28 10:59:55 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Fri, 28 May 2021 16:59:55 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> References: <590460999bdavesound@btinternet.com><858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> Message-ID: <23B76D14B2E746FBB74C0817B6FDCFE1@DESKTOP6GGCRV1> Could it not have been Colin Reid? Dave Newbitt. From: Alec Bray via Tech1 Sent: Friday, May 28, 2021 4:49 PM To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Studio Crews in 1974 Hi, Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From barrybonner119 at btinternet.com Fri May 28 11:09:08 2021 From: barrybonner119 at btinternet.com (Barry Bonner) Date: Fri, 28 May 2021 17:09:08 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <23B76D14B2E746FBB74C0817B6FDCFE1@DESKTOP6GGCRV1> References: <590460999bdavesound@btinternet.com><858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> <23B76D14B2E746FBB74C0817B6FDCFE1@DESKTOP6GGCRV1> Message-ID: Yes, it was Colin Reid. Crew 18 was formed on 26th. September 1965 and I was the relief mainly sound although at that point I hadn?t decided whether to pursue a career in cameras or sound! I think I finally made the right decision! Barry. On 28 May 2021, at 16:59, David Newbitt via Tech1 wrote: > Could it not have been Colin Reid? > > Dave Newbitt. > > From: Alec Bray via Tech1 > Sent: Friday, May 28, 2021 4:49 PM > To: tech1 at tech-ops.co.uk > Subject: Re: [Tech1] Studio Crews in 1974 > > Hi, > > Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! > > I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? > > -- > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From vernon.dyer at btinternet.com Fri May 28 11:12:13 2021 From: vernon.dyer at btinternet.com (vernon.dyer) Date: Fri, 28 May 2021 17:12:13 +0100 Subject: [Tech1] Studio Crews in 1974 Message-ID: Colin Reid was Senior Cameraman of Crew 18 in 1968 when I was on that crew.Best wishes? .....? Vern?Sent from my Samsung Galaxy smartphone.-------- Original message --------From: David Newbitt via Tech1 Date: 28/05/2021 16:59 (GMT+00:00) To: Alec Bray , tech1 at tech-ops.co.uk Cc: dnewbitt at fireflyuk.net -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidpcarter at btinternet.com Fri May 28 13:09:32 2021 From: davidpcarter at btinternet.com (davidpcarter) Date: Fri, 28 May 2021 19:09:32 +0100 (BST) Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> Message-ID: <25253e1.6042.179b42ac5f1.Webtop.107@btinternet.com> Hi Alec Colin Reid was Senior Cameraman on crew 18 when I joined in '69. I worked with him frequently in my early years. Promotion? Almost stagnant because of the previous BBC2 expansion. It took me 12 years to be officially graded as cameraman, which came about through Union negotiation to get a whole bunch of us upgraded. I don't remember the details but I expect some others might. David ------ Original Message ------ From: "Alec Bray via Tech1" To: tech1 at tech-ops.co.uk Sent: Friday, 28 May, 2021 At 16:49 Subject: Re: [Tech1] Studio Crews in 1974 Hi, Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? -- =======Alec Brayalec.bray.2 at gmail.com Mob: 07789 561 346Tel: 0118 981 7502 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Fri May 28 13:23:26 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Fri, 28 May 2021 19:23:26 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <25253e1.6042.179b42ac5f1.Webtop.107@btinternet.com> References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> <25253e1.6042.179b42ac5f1.Webtop.107@btinternet.com> Message-ID: The reason I left BBCTV in March 1970 was lack of promotion and being stuck on the roof of Grade D for two years. Dead men's shoes was the status quo. I was DO1 4 times and Cam 4 twice being demoted just before the 80 day deadline when the promotion would become permanent each time. I had excellent reports and annuals but there was no merit promotion back then. My good friend and Fellow TO19 member Jules Greenway saw the writing on the wall a few months before me and left for Anglia TV where merit promotions were available under ACTT Rule Note E. I followed him, taking a ?15 per annum pay cut but getting a Note E promotion a few months later with a ?400 per annum hike. I loved working at the BBC - some of the happiest years of my life - but having just got married it was hard living on the fixed salary, and buying a house was nigh on impossible. Geoff F Fri, 28 May 2021 at 19:10, davidpcarter via Tech1 wrote: > Hi Alec > > > Colin Reid was Senior Cameraman on crew 18 when I joined in '69. I worked > with him frequently in my early years. Promotion? Almost stagnant because > of the previous BBC2 expansion. It took me 12 years to be officially graded > as cameraman, which came about through Union negotiation to get a whole > bunch of us upgraded. I don't remember the details but I expect some others > might. > > > David > > > > ------ Original Message ------ > From: "Alec Bray via Tech1" > To: tech1 at tech-ops.co.uk > Sent: Friday, 28 May, 2021 At 16:49 > Subject: Re: [Tech1] Studio Crews in 1974 > > Hi, > > Graham's staff list from 1974 is very interesting. I left in 1967 - and > seven years later there are at least FIVE senior cameramen who were senior > cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A > couple of senior cameramen "escaped" into the production side of things, I > know, but things seem to be a bit static! > > I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops > from OBs around 1965/6? > > -- > ======= > > Alec Bray > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > > ------------------------------ > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From vernon.dyer at btinternet.com Fri May 28 13:48:08 2021 From: vernon.dyer at btinternet.com (vernon.dyer) Date: Fri, 28 May 2021 19:48:08 +0100 Subject: [Tech1] Studio Crews in 1974 Message-ID: <07mwf7q4065j4eu5059s5co6.1622227688206@email.android.com> Yes, me too. I left in November 1968 to join the recently-opened YTV. In my case I had a slight increase in salary from the start.VSent from my Samsung Galaxy smartphone.-------- Original message --------From: Geoff Fletcher via Tech1 Date: 28/05/2021 19:23 (GMT+00:00) To: david at magnacarter.net Cc: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Studio Crews in 1974 The reason I left BBCTV in March 1970 was lack of promotion and being stuck on the roof of Grade D for two years. Dead men's shoes was the status quo. I was DO1 ?4 times and Cam 4 twice being demoted just before the 80 day deadline when the promotion would become permanent each time. I had excellent reports and annuals but there was no merit promotion back then. My good friend and Fellow TO19 member Jules Greenway saw the writing on the wall a few months before me and left for Anglia TV where merit promotions were available under ACTT Rule Note E. I followed him, taking a ?15 per annum pay cut but getting a Note E promotion a few months later with a ?400 per ?annum hike. I loved working at the BBC - some of the happiest years of my life ?- but ?having just got married it was hard living on the fixed salary, ?and buying a house was nigh on impossible.?Geoff F?Fri, 28 May 2021 at 19:10, davidpcarter via Tech1 wrote: Hi AlecColin Reid was Senior Cameraman on crew 18 when I joined in '69. I worked with him frequently in my early years. Promotion? Almost stagnant because of the previous BBC2 expansion. It took me 12 years to be officially graded as cameraman, which came about through Union negotiation to get a whole bunch of us upgraded. I don't remember the details but I expect some others might.David -------------- next part -------------- An HTML attachment was scrubbed... URL: From barry-wilkinson at sky.com Fri May 28 17:16:32 2021 From: barry-wilkinson at sky.com (B Wilkinson) Date: Fri, 28 May 2021 23:16:32 +0100 Subject: [Tech1] Scam? References: <8E7CBC32-54B1-4397-BB05-30674D795521.ref@sky.com> Message-ID: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> I am 99.9% sure this email is a scam , he has not viewed the car. Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? Comments please Sent from my iPad Begin forwarded message: > From: Steve Chenney > Date: 28 May 2021 at 22:12:28 BST > To: B Wilkinson > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > > ? > Good Evening , > > Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. > > I will be looking forward to hearing back from you. > > Best Regard > Steve Cheney > > > > From: B Wilkinson > Sent: Thursday, May 27, 2021 11:47 PM > To: Steve Chenney > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > > It is ?10000. > > Sent from my iPad > >>> On 28 May 2021, at 00:43, Steve Chenney wrote: >>> >> ? >> Good day , >> >> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >> >> Best Regard >> Steve Cheney -------------- next part -------------- An HTML attachment was scrubbed... URL: From mibridge at mac.com Fri May 28 18:57:33 2021 From: mibridge at mac.com (Mike Giles) Date: Sat, 29 May 2021 00:57:33 +0100 Subject: [Tech1] Scam? In-Reply-To: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> References: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> Message-ID: This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. Mike G > On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: > > ?I am 99.9% sure this email is a scam , he has not viewed the car. > Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? > Comments please > > Sent from my iPad > > Begin forwarded message: > >> From: Steve Chenney >> Date: 28 May 2021 at 22:12:28 BST >> To: B Wilkinson >> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >> >> ? >> Good Evening , >> >> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. >> >> I will be looking forward to hearing back from you. >> >> Best Regard >> Steve Cheney >> >> >> >> From: B Wilkinson >> Sent: Thursday, May 27, 2021 11:47 PM >> To: Steve Chenney >> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >> >> It is ?10000. >> >> Sent from my iPad >> >>>> On 28 May 2021, at 00:43, Steve Chenney wrote: >>>> >>> ? >>> Good day , >>> >>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >>> >>> Best Regard >>> Steve Cheney > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From mibridge at mac.com Fri May 28 19:00:05 2021 From: mibridge at mac.com (Mike Giles) Date: Sat, 29 May 2021 01:00:05 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: References: Message-ID: <738F0E35-F166-47B9-B647-363DBCC8411B@mac.com> You seem to have got smaller, Barry - your signature, that is! Mike G > On 28 May 2021, at 19:24, Geoff Fletcher via Tech1 wrote: > > ? > The reason I left BBCTV in March 1970 was lack of promotion and being stuck on the roof of Grade D for two years. Dead men's shoes was the status quo. I was DO1 4 times and Cam 4 twice being demoted just before the 80 day deadline when the promotion would become permanent each time. I had excellent reports and annuals but there was no merit promotion back then. My good friend and Fellow TO19 member Jules Greenway saw the writing on the wall a few months before me and left for Anglia TV where merit promotions were available under ACTT Rule Note E. I followed him, taking a ?15 per annum pay cut but getting a Note E promotion a few months later with a ?400 per annum hike. I loved working at the BBC - some of the happiest years of my life - but having just got married it was hard living on the fixed salary, and buying a house was nigh on impossible. > Geoff F > > Fri, 28 May 2021 at 19:10, davidpcarter via Tech1 wrote: >> Hi Alec >> >> >> Colin Reid was Senior Cameraman on crew 18 when I joined in '69. I worked with him frequently in my early years. Promotion? Almost stagnant because of the previous BBC2 expansion. It took me 12 years to be officially graded as cameraman, which came about through Union negotiation to get a whole bunch of us upgraded. I don't remember the details but I expect some others might. >> >> >> >> David >> >> >> >> >> ------ Original Message ------ >> From: "Alec Bray via Tech1" >> To: tech1 at tech-ops.co.uk >> Sent: Friday, 28 May, 2021 At 16:49 >> Subject: Re: [Tech1] Studio Crews in 1974 >> >> >> Hi, >> >> >> >> Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! >> >> >> I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? >> >> >> >> -- >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob: 07789 561 346 >> Tel: 0118 981 7502 >> >> -- >> >> Tech1 mailing list >> >> Tech1 at tech-ops.co.uk >> >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From hughsheppard at btinternet.com Sat May 29 01:32:31 2021 From: hughsheppard at btinternet.com (Hugh Sheppard) Date: Sat, 29 May 2021 07:32:31 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> Message-ID: <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> 'Ace' Reed (wasn't he double 'e'?) came to Crew 6 from OB's in 1963-4 methinks. Hugh On 28-May-21 4:49 PM, Alec Bray via Tech1 wrote: > > Hi, > > Graham's staff list from 1974 is very interesting.? I left in 1967 - > and seven years later there are at least FIVE senior cameramen who > were senior cameramen in 1967.? What were the Promotion prospects - > apart from TM1, 2?? A couple of senior cameramen "escaped" into the > production side of things, I know, but things seem to be a bit static! > > I am assuming that? Reid at 18 is Arthur Reid - who came to Studio > tech ops from OBs around 1965/6? > > -- > ======= > > Alec Bray > > alec.bray.2 at gmail.com > Mob: 07789 561 346 > Tel: 0118 981 7502 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Sat May 29 02:09:21 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sat, 29 May 2021 08:09:21 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> References: <590460999bdavesound@btinternet.com><858e09e8-2b71-c158-6683-617ce0952704@btinternet.com><0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> Message-ID: <2B18279E3B0841929735E9EF141ACE17@DESKTOP6GGCRV1> In the Oct 1978 staff lists the entry listing for Crew 18 S/C was ?C G Reid? so, unless that was a typo, Reid would seem to be the correct spelling, Hugh. Dave Newbitt From: Hugh Sheppard via Tech1 Sent: Saturday, May 29, 2021 7:32 AM To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] Studio Crews in 1974 'Ace' Reed (wasn't he double 'e'?) came to Crew 6 from OB's in 1963-4 methinks. Hugh On 28-May-21 4:49 PM, Alec Bray via Tech1 wrote: Hi, Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? -- ======= Alec Bray alec.bray.2 at gmail.com Mob: 07789 561 346 Tel: 0118 981 7502 -------------------------------------------------------------------------------- -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From billjenkin67 at gmail.com Sat May 29 03:04:10 2021 From: billjenkin67 at gmail.com (Bill Jenkin) Date: Sat, 29 May 2021 09:04:10 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <2B18279E3B0841929735E9EF141ACE17@DESKTOP6GGCRV1> References: <590460999bdavesound@btinternet.com><858e09e8-2b71-c158-6683-617ce0952704@btinternet.com><0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> <2B18279E3B0841929735E9EF141ACE17@DESKTOP6GGCRV1> Message-ID: <000301d75461$35696720$a03c3560$@gmail.com> Colin Reid was a "Reid" and Arthur was "Reed". If I remember correctly I'm afraid Arthur (who had come to studios from OBs) died rather suddenly from a Brain Haemorrhage. Please correct me if I'm wrong. He used to use his own personal 'T' shaped panning handle. This was in the days of Black & White cameras of course, you didn't have that choice once colour came along. Bill J From: Tech1 [mailto:tech1-bounces at tech-ops.co.uk] On Behalf Of David Newbitt via Tech1 Sent: 29 May 2021 08:09 To: Hugh Sheppard; tech1 at tech-ops.co.uk Cc: dnewbitt at fireflyuk.net Subject: Re: [Tech1] Studio Crews in 1974 In the Oct 1978 staff lists the entry listing for Crew 18 S/C was 'C G Reid' so, unless that was a typo, Reid would seem to be the correct spelling, Hugh. Dave Newbitt -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sat May 29 05:11:15 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sat, 29 May 2021 11:11:15 +0100 Subject: [Tech1] Scam? In-Reply-To: References: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> Message-ID: <593428efcfdavesound@btinternet.com> Shipping would be the worrying thing to me. Why would anyone buy a reasonably common car without first seeing it? In article , Mike Giles via Tech1 wrote: > This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. > Mike G > > On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: > > > > #I am 99.9% sure this email is a scam , he has not viewed the car. > > Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? > > Comments please > > > > Sent from my iPad > > > > Begin forwarded message: > > > >> From: Steve Chenney > >> Date: 28 May 2021 at 22:12:28 BST > >> To: B Wilkinson > >> Subject: Re: Jaguar X350 Diesel Sovereign 2007 > >> > >> # > >> Good Evening , > >> > >> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. > >> > >> I will be looking forward to hearing back from you. > >> > >> Best Regard > >> Steve Cheney > >> > >> > >> > >> From: B Wilkinson > >> Sent: Thursday, May 27, 2021 11:47 PM > >> To: Steve Chenney > >> Subject: Re: Jaguar X350 Diesel Sovereign 2007 > >> > >> It is ?10000. > >> > >> Sent from my iPad > >> > >>>> On 28 May 2021, at 00:43, Steve Chenney wrote: > >>>> > >>> # > >>> Good day , > >>> > >>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. > >>> > >>> Best Regard > >>> Steve Cheney > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 From barrybonner119 at btinternet.com Sat May 29 05:38:55 2021 From: barrybonner119 at btinternet.com (Barry Bonner) Date: Sat, 29 May 2021 11:38:55 +0100 Subject: [Tech1] Scam? In-Reply-To: <593428efcfdavesound@btinternet.com> References: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> <593428efcfdavesound@btinternet.com> Message-ID: He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. Barry. On 29 May 2021, at 11:11, Dave Plowman via Tech1 wrote: > Shipping would be the worrying thing to me. Why would anyone buy a > reasonably common car without first seeing it? > > > > In article , > Mike Giles via Tech1 wrote: >> This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. > >> Mike G > >>> On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: >>> >>> #I am 99.9% sure this email is a scam , he has not viewed the car. >>> Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? >>> Comments please >>> >>> Sent from my iPad >>> >>> Begin forwarded message: >>> >>>> From: Steve Chenney >>>> Date: 28 May 2021 at 22:12:28 BST >>>> To: B Wilkinson >>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>> >>>> # >>>> Good Evening , >>>> >>>> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. >>>> >>>> I will be looking forward to hearing back from you. >>>> >>>> Best Regard >>>> Steve Cheney >>>> >>>> >>>> >>>> From: B Wilkinson >>>> Sent: Thursday, May 27, 2021 11:47 PM >>>> To: Steve Chenney >>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>> >>>> It is ?10000. >>>> >>>> Sent from my iPad >>>> >>>>>> On 28 May 2021, at 00:43, Steve Chenney wrote: >>>>>> >>>>> # >>>>> Good day , >>>>> >>>>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >>>>> >>>>> Best Regard >>>>> Steve Cheney >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sat May 29 06:05:12 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sat, 29 May 2021 12:05:12 +0100 Subject: [Tech1] Scam? In-Reply-To: References: <8E7CBC32-54B1-4397-BB05-30674D795521@sky.com> <593428efcfdavesound@btinternet.com> Message-ID: <59342de058davesound@btinternet.com> It's a bit of a worry with scammers. If cash, how can you be sure it's not forgeries? With a bank transfer, can you be sure it can't be cancelled later? All these things went through my mind when selling an expensive pair of speakers recently via Ebay - but collection only. Paid by Paypal. Had a pal with me when they were collected. But my fears were groundless. Buyer a very nice chap who contacted me later saying how pleased it he was with them. I got the impression he didn't actually know what he was buying by the effort he had to fit them in his car. In article , Barry Bonner via Tech1 wrote: > He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' > in the email address! Very odd. Also I wouldn?t part with anything until > I actually had the money either in cash or as a bank transfer. Barry. > On 29 May 2021, at 11:11, Dave Plowman via Tech1 wrote: > > Shipping would be the worrying thing to me. Why would anyone buy a > > reasonably common car without first seeing it? > > > > > > > > In article , > > Mike Giles via Tech1 wrote: > >> This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. > > > >> Mike G > > > >>> On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: > >>> > >>> #I am 99.9% sure this email is a scam , he has not viewed the car. > >>> Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? > >>> Comments please > >>> > >>> Sent from my iPad > >>> > >>> Begin forwarded message: > >>> > >>>> From: Steve Chenney > >>>> Date: 28 May 2021 at 22:12:28 BST > >>>> To: B Wilkinson > >>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 > >>>> > >>>> # > >>>> Good Evening , > >>>> > >>>> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. > >>>> > >>>> I will be looking forward to hearing back from you. > >>>> > >>>> Best Regard > >>>> Steve Cheney > >>>> > >>>> > >>>> > >>>> From: B Wilkinson > >>>> Sent: Thursday, May 27, 2021 11:47 PM > >>>> To: Steve Chenney > >>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 > >>>> > >>>> It is ?10000. > >>>> > >>>> Sent from my iPad > >>>> > >>>>>> On 28 May 2021, at 00:43, Steve Chenney wrote: > >>>>>> > >>>>> # > >>>>> Good day , > >>>>> > >>>>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. > >>>>> > >>>>> Best Regard > >>>>> Steve Cheney > >>> -- > >>> Tech1 mailing list > >>> Tech1 at tech-ops.co.uk > >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > > -- > > Dave Plowman dave at davesound.co.uk London SW 12 > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 From s.k.edwards at btinternet.com Sat May 29 06:08:41 2021 From: s.k.edwards at btinternet.com (Steve Edwards) Date: Sat, 29 May 2021 12:08:41 +0100 Subject: [Tech1] Scam? In-Reply-To: References: Message-ID: <66EEA663-6DA7-46AF-9F88-FF28A816E258@btinternet.com> He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? > On 29 May 2021, at 11:39, Barry Bonner via Tech1 wrote: > > ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. > Barry. > > > >> On 29 May 2021, at 11:11, Dave Plowman via Tech1 wrote: >> >> Shipping would be the worrying thing to me. Why would anyone buy a >> reasonably common car without first seeing it? >> >> >> >> In article , >> Mike Giles via Tech1 wrote: >>> This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. >> >>> Mike G >> >>>> On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: >>>> >>>> #I am 99.9% sure this email is a scam , he has not viewed the car. >>>> Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? >>>> Comments please >>>> >>>> Sent from my iPad >>>> >>>> Begin forwarded message: >>>> >>>>> From: Steve Chenney >>>>> Date: 28 May 2021 at 22:12:28 BST >>>>> To: B Wilkinson >>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>> >>>>> # >>>>> Good Evening , >>>>> >>>>> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. >>>>> >>>>> I will be looking forward to hearing back from you. >>>>> >>>>> Best Regard >>>>> Steve Cheney >>>>> >>>>> >>>>> >>>>> From: B Wilkinson >>>>> Sent: Thursday, May 27, 2021 11:47 PM >>>>> To: Steve Chenney >>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>> >>>>> It is ?10000. >>>>> >>>>> Sent from my iPad >>>>> >>>>>>> On 28 May 2021, at 00:43, Steve Chenney wrote: >>>>>>> >>>>>> # >>>>>> Good day , >>>>>> >>>>>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >>>>>> >>>>>> Best Regard >>>>>> Steve Cheney >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From geoffletch at gmail.com Sat May 29 06:59:01 2021 From: geoffletch at gmail.com (Geoff Fletcher) Date: Sat, 29 May 2021 12:59:01 +0100 Subject: [Tech1] Studio Crews in 1974 In-Reply-To: <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> References: <590460999bdavesound@btinternet.com> <858e09e8-2b71-c158-6683-617ce0952704@btinternet.com> <0b72c19f-a502-0c9d-8b3c-7a734125790a@gmail.com> <388b934a-779d-9045-dcf3-cdcb3dfcef6f@btinternet.com> Message-ID: Here is a mention of Arthur Reed in my 1965 diary, plus two photos of him working on the Coronation OB in 1953. Geoff F > On 29 May 2021, at 07:32, Hugh Sheppard via Tech1 wrote: > > 'Ace' Reed (wasn't he double 'e'?) came to Crew 6 from OB's in 1963-4 methinks. > > Hugh > > On 28-May-21 4:49 PM, Alec Bray via Tech1 wrote: >> Hi, >> >> Graham's staff list from 1974 is very interesting. I left in 1967 - and seven years later there are at least FIVE senior cameramen who were senior cameramen in 1967. What were the Promotion prospects - apart from TM1, 2? A couple of senior cameramen "escaped" into the production side of things, I know, but things seem to be a bit static! >> >> I am assuming that Reid at 18 is Arthur Reid - who came to Studio tech ops from OBs around 1965/6? >> >> -- >> ======= >> >> Alec Bray >> >> alec.bray.2 at gmail.com >> Mob: 07789 561 346 >> Tel: 0118 981 7502 >> >> > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screenshot 2021-05-29 at 12.45.56 copy.jpeg Type: image/jpeg Size: 26343 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Arthur Reed 1953 coronation copy.jpeg Type: image/jpeg Size: 28130 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Arthur Reed 1953 coronation. 2 copy.jpeg Type: image/jpeg Size: 26314 bytes Desc: not available URL: From waresound at msn.com Sat May 29 07:22:43 2021 From: waresound at msn.com (Nick Ware) Date: Sat, 29 May 2021 12:22:43 +0000 Subject: [Tech1] Scam? In-Reply-To: <66EEA663-6DA7-46AF-9F88-FF28A816E258@btinternet.com> References: <66EEA663-6DA7-46AF-9F88-FF28A816E258@btinternet.com> Message-ID: I used to work with a film sound recordist who I won?t name, and who was well known as a bit of a dodgy wheeler-dealer, but much to my delight, got caught at his own game. If you knew him, you know exactly who I mean! Yes, that?s right, the one who had a film sound transfer suite in a Soho brothel!! If I remember right, it was a dubiously acquired boat and trailer that he advertised for sale. He thought he had a buyer, and gave his address for the guy to come with cash and collect the boat the following evening. Got home from work to find the boat gone and no cash. He was constantly in trouble with Joe Telford, the ACTT freelance organiser/petty official, but that?s a whole chapter of other stories. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 On 29 May 2021, at 12:09, Steve Edwards via Tech1 wrote: ? He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? On 29 May 2021, at 11:39, Barry Bonner via Tech1 wrote: ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. Barry. On 29 May 2021, at 11:11, Dave Plowman via Tech1 > wrote: Shipping would be the worrying thing to me. Why would anyone buy a reasonably common car without first seeing it? In article >, Mike Giles via Tech1 > wrote: This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. Mike G On 28 May 2021, at 23:17, B Wilkinson via Tech1 > wrote: #I am 99.9% sure this email is a scam , he has not viewed the car. Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? Comments please Sent from my iPad Begin forwarded message: From: Steve Chenney > Date: 28 May 2021 at 22:12:28 BST To: B Wilkinson > Subject: Re: Jaguar X350 Diesel Sovereign 2007 # Good Evening , Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. I will be looking forward to hearing back from you. Best Regard Steve Cheney From: B Wilkinson > Sent: Thursday, May 27, 2021 11:47 PM To: Steve Chenney > Subject: Re: Jaguar X350 Diesel Sovereign 2007 It is ?10000. Sent from my iPad On 28 May 2021, at 00:43, Steve Chenney > wrote: # Good day , I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. Best Regard Steve Cheney -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From ravenscourt1 at btinternet.com Sat May 29 07:59:45 2021 From: ravenscourt1 at btinternet.com (Albert Barber) Date: Sat, 29 May 2021 13:59:45 +0100 Subject: [Tech1] Scam? In-Reply-To: References: <66EEA663-6DA7-46AF-9F88-FF28A816E258@btinternet.com> Message-ID: <03A227B3-2CE7-4CB9-B125-BDB3BEB87CDC@btinternet.com> I worked in Bristol on a show which had a gold bar and priceless diamonds from Debeers who brought their own security along with them plus Brinksmatt security. However the BBC security in Bristol put maximum effort into this as well BUT the next door building had all its computers stolen. Then theres the story of the pianos stacked up on end at TVC?. Oops Albert > On 29 May 2021, at 13:22, Nick Ware via Tech1 wrote: > > I used to work with a film sound recordist who I won?t name, and who was well known as a bit of a dodgy wheeler-dealer, but much to my delight, got caught at his own game. If you knew him, you know exactly who I mean! Yes, that?s right, the one who had a film sound transfer suite in a Soho brothel!! > If I remember right, it was a dubiously acquired boat and trailer that he advertised for sale. He thought he had a buyer, and gave his address for the guy to come with cash and collect the boat the following evening. Got home from work to find the boat gone and no cash. > He was constantly in trouble with Joe Telford, the ACTT freelance organiser/petty official, but that?s a whole chapter of other stories. > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > >> On 29 May 2021, at 12:09, Steve Edwards via Tech1 wrote: >> >> ? >> He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? >> >>> On 29 May 2021, at 11:39, Barry Bonner via Tech1 wrote: >>> >>> ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. >>> Barry. >>> >>> >>> >>> On 29 May 2021, at 11:11, Dave Plowman via Tech1 > wrote: >>> >>>> Shipping would be the worrying thing to me. Why would anyone buy a >>>> reasonably common car without first seeing it? >>>> >>>> >>>> >>>> In article >, >>>> Mike Giles via Tech1 > wrote: >>>>> This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. >>>> >>>>> Mike G >>>> >>>>>> On 28 May 2021, at 23:17, B Wilkinson via Tech1 > wrote: >>>>>> >>>>>> #I am 99.9% sure this email is a scam , he has not viewed the car. >>>>>> Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? >>>>>> Comments please >>>>>> >>>>>> Sent from my iPad >>>>>> >>>>>> Begin forwarded message: >>>>>> >>>>>>> From: Steve Chenney > >>>>>>> Date: 28 May 2021 at 22:12:28 BST >>>>>>> To: B Wilkinson > >>>>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>>>> >>>>>>> # >>>>>>> Good Evening , >>>>>>> >>>>>>> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. >>>>>>> >>>>>>> I will be looking forward to hearing back from you. >>>>>>> >>>>>>> Best Regard >>>>>>> Steve Cheney >>>>>>> >>>>>>> >>>>>>> >>>>>>> From: B Wilkinson > >>>>>>> Sent: Thursday, May 27, 2021 11:47 PM >>>>>>> To: Steve Chenney > >>>>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>>>> >>>>>>> It is ?10000. >>>>>>> >>>>>>> Sent from my iPad >>>>>>> >>>>>>>>> On 28 May 2021, at 00:43, Steve Chenney > wrote: >>>>>>>>> >>>>>>>> # >>>>>>>> Good day , >>>>>>>> >>>>>>>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >>>>>>>> >>>>>>>> Best Regard >>>>>>>> Steve Cheney >>>>>> -- >>>>>> Tech1 mailing list >>>>>> Tech1 at tech-ops.co.uk >>>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>>> -- >>>> Dave Plowman dave at davesound.co.uk London SW 12 >>>> >>>> >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From alanaudio at me.com Sat May 29 08:14:33 2021 From: alanaudio at me.com (Alan Taylor) Date: Sat, 29 May 2021 14:14:33 +0100 Subject: [Tech1] Scam? In-Reply-To: References: Message-ID: There was a car buying scam carried out on my cousin in 2012. He advertised a car for sale for ?9,995 and was telephoned by a chap who said he was looking for a car exactly like that and would be happy to pay ?10,000 in cash. The buyer said that he was rather busy and wouldn?t be able to get into the bank to get that much cash until late on Saturday morning. Around lunchtime, the chap turned up with the cash, handed it over and took possession of the car. Minutes later, a bunch of very aggressive looking people turned up and said that they had been following a man who was seen to be withdrawing a large amount of cash from the bank. They had intended to rob him, but weren?t able to do so before he reached their house. They saw him arrive by taxi and leave in a car, so it was obvious what he took the money out for. They then grabbed his wife, threatened her with a knife and demanded the money. He felt there was no option but to hand the money over, especially as they live in a fairly isolated area. Obviously the police were informed and they said that this has happened occasionally in that area ( Axminster ). They are convinced that the gang were working in conjunction with the car buyer, but although the description of the gang and their story is similar every time, the buyer is different and they have been unable to prove any connection between them. The reason for doing the transaction on a Saturday afternoon is believed to be so that the banks would be closed and the cash will still be in the house. Alan Taylor > On 29 May 2021, at 13:23, Nick Ware via Tech1 wrote: > > ? I used to work with a film sound recordist who I won?t name, and who was well known as a bit of a dodgy wheeler-dealer, but much to my delight, got caught at his own game. If you knew him, you know exactly who I mean! Yes, that?s right, the one who had a film sound transfer suite in a Soho brothel!! > If I remember right, it was a dubiously acquired boat and trailer that he advertised for sale. He thought he had a buyer, and gave his address for the guy to come with cash and collect the boat the following evening. Got home from work to find the boat gone and no cash. > He was constantly in trouble with Joe Telford, the ACTT freelance organiser/petty official, but that?s a whole chapter of other stories. > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > >>> On 29 May 2021, at 12:09, Steve Edwards via Tech1 wrote: >>> >> ? >> He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? >> >>> On 29 May 2021, at 11:39, Barry Bonner via Tech1 wrote: >>> >>> ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. >>> Barry. >>> >>> >>> >>>> On 29 May 2021, at 11:11, Dave Plowman via Tech1 wrote: >>>> >>>> Shipping would be the worrying thing to me. Why would anyone buy a >>>> reasonably common car without first seeing it? >>>> >>>> >>>> >>>> In article , >>>> Mike Giles via Tech1 wrote: >>>>> This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. >>>> >>>>> Mike G >>>> >>>>>> On 28 May 2021, at 23:17, B Wilkinson via Tech1 wrote: >>>>>> >>>>>> #I am 99.9% sure this email is a scam , he has not viewed the car. >>>>>> Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? >>>>>> Comments please >>>>>> >>>>>> Sent from my iPad >>>>>> >>>>>> Begin forwarded message: >>>>>> >>>>>>> From: Steve Chenney >>>>>>> Date: 28 May 2021 at 22:12:28 BST >>>>>>> To: B Wilkinson >>>>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>>>> >>>>>>> # >>>>>>> Good Evening , >>>>>>> >>>>>>> Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. >>>>>>> >>>>>>> I will be looking forward to hearing back from you. >>>>>>> >>>>>>> Best Regard >>>>>>> Steve Cheney >>>>>>> >>>>>>> >>>>>>> >>>>>>> From: B Wilkinson >>>>>>> Sent: Thursday, May 27, 2021 11:47 PM >>>>>>> To: Steve Chenney >>>>>>> Subject: Re: Jaguar X350 Diesel Sovereign 2007 >>>>>>> >>>>>>> It is ?10000. >>>>>>> >>>>>>> Sent from my iPad >>>>>>> >>>>>>>>> On 28 May 2021, at 00:43, Steve Chenney wrote: >>>>>>>>> >>>>>>>> # >>>>>>>> Good day , >>>>>>>> >>>>>>>> I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. >>>>>>>> >>>>>>>> Best Regard >>>>>>>> Steve Cheney >>>>>> -- >>>>>> Tech1 mailing list >>>>>> Tech1 at tech-ops.co.uk >>>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>>> -- >>>> Dave Plowman dave at davesound.co.uk London SW 12 >>>> >>>> >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sat May 29 12:06:16 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sat, 29 May 2021 18:06:16 +0100 Subject: [Tech1] TV set Message-ID: <59344eef79davesound@btinternet.com> Was looking online at large screen OLED TVs, and discovered the 'favourite' at about ?3000, is wall mount only. If you wish to to have it on a table etc or freestanding, you have to pay extra for a stand. -- Dave Plowman dave at davesound.co.uk London SW 12 From geoff.hawkes134 at gmail.com Sat May 29 17:26:26 2021 From: geoff.hawkes134 at gmail.com (geoff.hawkes134 at gmail.com) Date: Sat, 29 May 2021 23:26:26 +0100 Subject: [Tech1] Phone Scam? Message-ID: <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com> Nothing to report on the level of these stories but today I had a call to my mobile from an unfamiliar UK number which when I answered, the phone went dead. Wondering who it could?ve been from and in case it was a genuine call, I rang back and a lady answered. When I asked who she was and said I was returning her call, she demanded curtly to know who I was and asked if I was ringing from a call centre. I said that I was a private individual and that she?d just called my number, to which she replied that no such call had been made from her phone. She said that the same thing had happened a couple of days previously with someone rang saying they were returning a call from her. I wondered what was going on and whether her number had been hacked in some way, but to what advantage? The lady spoke perfect English and said she lived in the North West which from her accent, I believed. I apologised for disturbing her and she said not to worry. Has anyone else had an incident like this or can offer a possible explanation? Geoff From: Tech1 On Behalf Of Alan Taylor via Tech1 Sent: 29 May 2021 14:15 To: tech1 Subject: Re: [Tech1] Scam? There was a car buying scam carried out on my cousin in 2012. He advertised a car for sale for ?9,995 and was telephoned by a chap who said he was looking for a car exactly like that and would be happy to pay ?10,000 in cash. The buyer said that he was rather busy and wouldn?t be able to get into the bank to get that much cash until late on Saturday morning. Around lunchtime, the chap turned up with the cash, handed it over and took possession of the car. Minutes later, a bunch of very aggressive looking people turned up and said that they had been following a man who was seen to be withdrawing a large amount of cash from the bank. They had intended to rob him, but weren?t able to do so before he reached their house. They saw him arrive by taxi and leave in a car, so it was obvious what he took the money out for. They then grabbed his wife, threatened her with a knife and demanded the money. He felt there was no option but to hand the money over, especially as they live in a fairly isolated area. Obviously the police were informed and they said that this has happened occasionally in that area ( Axminster ). They are convinced that the gang were working in conjunction with the car buyer, but although the description of the gang and their story is similar every time, the buyer is different and they have been unable to prove any connection between them. The reason for doing the transaction on a Saturday afternoon is believed to be so that the banks would be closed and the cash will still be in the house. Alan Taylor On 29 May 2021, at 13:23, Nick Ware via Tech1 > wrote: ? I used to work with a film sound recordist who I won?t name, and who was well known as a bit of a dodgy wheeler-dealer, but much to my delight, got caught at his own game. If you knew him, you know exactly who I mean! Yes, that?s right, the one who had a film sound transfer suite in a Soho brothel!! If I remember right, it was a dubiously acquired boat and trailer that he advertised for sale. He thought he had a buyer, and gave his address for the guy to come with cash and collect the boat the following evening. Got home from work to find the boat gone and no cash. He was constantly in trouble with Joe Telford, the ACTT freelance organiser/petty official, but that?s a whole chapter of other stories. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 On 29 May 2021, at 12:09, Steve Edwards via Tech1 > wrote: ? He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? On 29 May 2021, at 11:39, Barry Bonner via Tech1 > wrote: ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. Barry. On 29 May 2021, at 11:11, Dave Plowman via Tech1 > wrote: Shipping would be the worrying thing to me. Why would anyone buy a reasonably common car without first seeing it? In article >, Mike Giles via Tech1 > wrote: This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. Mike G On 28 May 2021, at 23:17, B Wilkinson via Tech1 > wrote: #I am 99.9% sure this email is a scam , he has not viewed the car. Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? Comments please Sent from my iPad Begin forwarded message: From: Steve Chenney > Date: 28 May 2021 at 22:12:28 BST To: B Wilkinson > Subject: Re: Jaguar X350 Diesel Sovereign 2007 # Good Evening , Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. I will be looking forward to hearing back from you. Best Regard Steve Cheney From: B Wilkinson > Sent: Thursday, May 27, 2021 11:47 PM To: Steve Chenney > Subject: Re: Jaguar X350 Diesel Sovereign 2007 It is ?10000. Sent from my iPad On 28 May 2021, at 00:43, Steve Chenney > wrote: # Good day , I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. Best Regard Steve Cheney -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: From dnewbitt at fireflyuk.net Sat May 29 17:27:14 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sat, 29 May 2021 23:27:14 +0100 Subject: [Tech1] TV set In-Reply-To: <59344eef79davesound@btinternet.com> References: <59344eef79davesound@btinternet.com> Message-ID: <73F75F17888C49ADB64AC91E8CA5029C@DESKTOP6GGCRV1> I can see why you might feel miffed at paying extra Dave but there is another side to the argument. It's 3 years since we last changed our set and bought a 50" Panasonic - not Oled but decent enough. It came with a 'designer chrome stand which we didn't need as our viewing area works best with wall fixing (why do most such finish up far too high up the wall, often above a mantlepiece?). So arguably we were not just paying for something not required but contributing to unnecessary waste of materials and energy. On balance it seems to me sensible for manufacturers to price elements of an installation separately. Dave Newbitt. -----Original Message----- From: Dave Plowman via Tech1 Sent: Saturday, May 29, 2021 6:06 PM To: tech1 at tech-ops.co.uk Subject: [Tech1] TV set Was looking online at large screen OLED TVs, and discovered the 'favourite' at about ?3000, is wall mount only. If you wish to to have it on a table etc or freestanding, you have to pay extra for a stand. -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From davesound at btinternet.com Sat May 29 18:25:46 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 30 May 2021 00:25:46 +0100 Subject: [Tech1] Phone Scam? In-Reply-To: <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com> References: <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com> Message-ID: <593471ad5cdavesound@btinternet.com> Yes. I had a couple of missed calls from a London number to my mobile, and phoned back. Same as you - a very well spoken lady saying that number hadn't called me. In article <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com>, geoff.hawkes134--- via Tech1 wrote: > Nothing to report on the level of these stories but today I had a call > to my mobile from an unfamiliar UK number which when I answered, the > phone went dead. Wondering who it could?ve been from and in case it was > a genuine call, I rang back and a lady answered. When I asked who she > was and said I was returning her call, she demanded curtly to know who I > was and asked if I was ringing from a call centre. I said that I was a > private individual and that she?d just called my number, to which she > replied that no such call had been made from her phone. She said that > the same thing had happened a couple of days previously with someone > rang saying they were returning a call from her. I wondered what was > going on and whether her number had been hacked in some way, but to what > advantage? The lady spoke perfect English and said she lived in the > North West which from her accent, I believed. I apologised for > disturbing her and she said not to worry. > Has anyone else had an incident like this or can offer a possible > explanation? > > Geoff > > From: Tech1 On Behalf Of Alan Taylor via > Tech1 Sent: 29 May 2021 14:15 To: tech1 Subject: > Re: [Tech1] Scam? > > There was a car buying scam carried out on my cousin in 2012. > > He advertised a car for sale for ?9,995 and was telephoned by a chap who said he was looking for a car exactly like that and would be happy to pay ?10,000 in cash. > > The buyer said that he was rather busy and wouldn?t be able to get into the bank to get that much cash until late on Saturday morning. Around lunchtime, the chap turned up with the cash, handed it over and took possession of the car. > > Minutes later, a bunch of very aggressive looking people turned up and said that they had been following a man who was seen to be withdrawing a large amount of cash from the bank. They had intended to rob him, but weren?t able to do so before he reached their house. They saw him arrive by taxi and leave in a car, so it was obvious what he took the money out for. They then grabbed his wife, threatened her with a knife and demanded the money. > > He felt there was no option but to hand the money over, especially as they live in a fairly isolated area. Obviously the police were informed and they said that this has happened occasionally in that area ( Axminster ). They are convinced that the gang were working in conjunction with the car buyer, but although the description of the gang and their story is similar every time, the buyer is different and they have been unable to prove any connection between them. The reason for doing the transaction on a Saturday afternoon is believed to be so that the banks would be closed and the cash will still be in the house. > > Alan Taylor > > > > > On 29 May 2021, at 13:23, Nick Ware via Tech1 > wrote: > # I used to work with a film sound recordist who I won?t name, and who was well known as a bit of a dodgy wheeler-dealer, but much to my delight, got caught at his own game. If you knew him, you know exactly who I mean! Yes, that?s right, the one who had a film sound transfer suite in a Soho brothel!! > If I remember right, it was a dubiously acquired boat and trailer that he advertised for sale. He thought he had a buyer, and gave his address for the guy to come with cash and collect the boat the following evening. Got home from work to find the boat gone and no cash. > He was constantly in trouble with Joe Telford, the ACTT freelance organiser/petty official, but that?s a whole chapter of other stories. > Cheers, > Nick. > Nick Ware - Sent from my iPad mini 5 > On 29 May 2021, at 12:09, Steve Edwards via Tech1 > wrote: > # > He already has your email address, your phone number, asks for your Full name & home address together with your bank details - when he obtains your date of birth, hasn?t he then acquired everything he would need for identity fraud? > On 29 May 2021, at 11:39, Barry Bonner via Tech1 > wrote: > #He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in the email address! Very odd. Also I wouldn?t part with anything until I actually had the money either in cash or as a bank transfer. > Barry. > > > On 29 May 2021, at 11:11, Dave Plowman via Tech1 > wrote: > Shipping would be the worrying thing to me. Why would anyone buy a > reasonably common car without first seeing it? > In article >, > Mike Giles via Tech1 > wrote: > This sort of transaction surely calls for an escrow service. I would certainly not be happy to proceed on the basis of his reply. > Mike G > On 28 May 2021, at 23:17, B Wilkinson via Tech1 > wrote: > #I am 99.9% sure this email is a scam , he has not viewed the car. > Suspicious English use of the word shipping plus no capital I?s . Also who would buy a large saloon car for his wife without seeing it? > Comments please > Sent from my iPad > Begin forwarded message: > From: Steve Chenney > > Date: 28 May 2021 at 22:12:28 BST > To: B Wilkinson > > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > # > Good Evening , > Thanks for your prompt reply on the price, I am satisfied with the price and will be more than happy to offer you the ?10,000 as i am buying for my wife and she will be glad to have it soon, as for the shipping i will take care of that so you won't go through any stress on that i will have someone to come and pick it up, kindly get back to me with your full name and mailing address on where the payment will be mailed to and also including your phone # on where can reach you. > I will be looking forward to hearing back from you. > Best Regard > Steve Cheney > From: B Wilkinson > > Sent: Thursday, May 27, 2021 11:47 PM > To: Steve Chenney > > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > It is ?10000. > Sent from my iPad > On 28 May 2021, at 00:43, Steve Chenney > wrote: > # > Good day , > I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) you listed for sale. Kindly let me with the last asking price. > Best Regard > Steve Cheney > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Dave Plowman dave at davesound.co.uk London SW 12 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tec -- Dave Plowman dave at davesound.co.uk London SW 12 From alanaudio at me.com Sat May 29 23:28:57 2021 From: alanaudio at me.com (Alan Taylor) Date: Sun, 30 May 2021 05:28:57 +0100 Subject: [Tech1] Phone Scam? In-Reply-To: <593471ad5cdavesound@btinternet.com> References: <593471ad5cdavesound@btinternet.com> Message-ID: These days, the vast majority of unrecognised numbers calling my mobile or land line seem to be spoofed numbers. I?ve long since given up calling back missed calls from unfamiliar numbers. If somebody leaves a message, then of course I call back, but call centres dont leave a message. Now that call centres use robot callers, I haven?t worked out a way to disrupt them. If a person originated the call, you could immediately say something like ?hang on a minute? and just leave the phone on the table while you continued to do what you were previously doing, just occasionally yelling ?nearly finished? in order to waste as much of their time as possible. But when it comes to the robot voice, apart from hanging up the second I realise it?s a robot, there?s not much you can do to annoy a robot. The way I quickly weed out the robots is to initially say nothing when I answer the phone to an unrecognised number. If nobody speaks for a few seconds, I say ?you called?? and that usually triggers the recorded message. I can then hang up before it has finished saying ?Good morning ...? If a person had called, they would respond to ?You called ?? by saying something like ?Yes, I?m calling from ...? Alan Taylor > On 30 May 2021, at 00:31, Dave Plowman via Tech1 wrote: > > ?Yes. I had a couple of missed calls from a London number to my mobile, and > phoned back. Same as you - a very well spoken lady saying that number > hadn't called me. > From keithwicksuk at gmail.com Sat May 29 23:36:44 2021 From: keithwicksuk at gmail.com (Keith Wicks) Date: Sun, 30 May 2021 05:36:44 +0100 Subject: [Tech1] Phone Scam? In-Reply-To: <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com> References: <011a01d754d9$aa3fe6f0$febfb4d0$@gmail.com> Message-ID: Making a call appear to come from another phone number is very easy to do using paid or free software. Some web sites provide this facility too. With a free service, expect to suffer from built-in advertising. For much more information, just search for *caller ID spoofing*. Some spoofing services will also disguise the caller's voice. These calls may be made as a joke or, more usually, in an attempt to defraud the person called. For example, the caller could appear to be phoning from your bank. So never trust the caller ID indicated on your phone. KW On Sat, 29 May 2021 at 23:26, geoff.hawkes134--- via Tech1 < tech1 at tech-ops.co.uk> wrote: > Nothing to report on the level of these stories but today I had a call to > my mobile from an unfamiliar UK number which when I answered, the phone > went dead. Wondering who it could?ve been from and in case it was a genuine > call, I rang back and a lady answered. When I asked who she was and said I > was returning her call, she demanded curtly to know who I was and asked if > I was ringing from a call centre. I said that I was a private individual > and that she?d just called my number, to which she replied that no such > call had been made from her phone. She said that the same thing had > happened a couple of days previously with someone rang saying they were > returning a call from her. I wondered what was going on and whether her > number had been hacked in some way, but to what advantage? The lady spoke > perfect English and said she lived in the North West which from her accent, > I believed. I apologised for disturbing her and she said not to worry. > > Has anyone else had an incident like this or can offer a possible > explanation? > > > > *Geoff* > > > > *From:* Tech1 *On Behalf Of *Alan Taylor > via Tech1 > *Sent:* 29 May 2021 14:15 > *To:* tech1 > *Subject:* Re: [Tech1] Scam? > > > > There was a car buying scam carried out on my cousin in 2012. > > > > He advertised a car for sale for ?9,995 and was telephoned by a chap who > said he was looking for a car exactly like that and would be happy to pay > ?10,000 in cash. > > > > The buyer said that he was rather busy and wouldn?t be able to get into > the bank to get that much cash until late on Saturday morning. Around > lunchtime, the chap turned up with the cash, handed it over and took > possession of the car. > > > > Minutes later, a bunch of very aggressive looking people turned up and > said that they had been following a man who was seen to be withdrawing a > large amount of cash from the bank. They had intended to rob him, but > weren?t able to do so before he reached their house. They saw him arrive > by taxi and leave in a car, so it was obvious what he took the money out > for. They then grabbed his wife, threatened her with a knife and demanded > the money. > > > > He felt there was no option but to hand the money over, especially as they > live in a fairly isolated area. Obviously the police were informed and > they said that this has happened occasionally in that area ( Axminster ). > They are convinced that the gang were working in conjunction with the car > buyer, but although the description of the gang and their story is similar > every time, the buyer is different and they have been unable to prove any > connection between them. The reason for doing the transaction on a Saturday > afternoon is believed to be so that the banks would be closed and the cash > will still be in the house. > > > > Alan Taylor > > > > > > > > > > > > On 29 May 2021, at 13:23, Nick Ware via Tech1 > wrote: > > ? I used to work with a film sound recordist who I won?t name, and who was > well known as a bit of a dodgy wheeler-dealer, but much to my delight, got > caught at his own game. If you knew him, you know exactly who I mean! Yes, > that?s right, the one who had a film sound transfer suite in a Soho > brothel!! > > If I remember right, it was a dubiously acquired boat and trailer that he > advertised for sale. He thought he had a buyer, and gave his address for > the guy to come with cash and collect the boat the following evening. Got > home from work to find the boat gone and no cash. > > He was constantly in trouble with Joe Telford, the ACTT freelance > organiser/petty official, but that?s a whole chapter of other stories. > > Cheers, > > Nick. > > Nick Ware - Sent from my iPad mini 5 > > > > On 29 May 2021, at 12:09, Steve Edwards via Tech1 > wrote: > > ? > > He already has your email address, your phone number, asks for your *Full* > name & home address together with your bank details - when he obtains your > date of birth, hasn?t he then acquired everything he would need for > identity fraud? > > > > On 29 May 2021, at 11:39, Barry Bonner via Tech1 > wrote: > > ?He spells his name "From: Steve Chenney? with 2 'N's but only one 'N' in > the email address! Very odd. Also I wouldn?t part with anything until I > actually had the money either in cash or as a bank transfer. > > *Barry.* > > > > > > On 29 May 2021, at 11:11, Dave Plowman via Tech1 > wrote: > > > > Shipping would be the worrying thing to me. Why would anyone buy a > reasonably common car without first seeing it? > > > > In article , > Mike Giles via Tech1 wrote: > > This sort of transaction surely calls for an escrow service. I would > certainly not be happy to proceed on the basis of his reply. > > > > Mike G > > > > On 28 May 2021, at 23:17, B Wilkinson via Tech1 > wrote: > > #I am 99.9% sure this email is a scam , he has not viewed the car. > Suspicious English use of the word shipping plus no capital I?s . Also who > would buy a large saloon car for his wife without seeing it? > Comments please > > Sent from my iPad > > Begin forwarded message: > > > From: Steve Chenney > Date: 28 May 2021 at 22:12:28 BST > To: B Wilkinson > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > > # > Good Evening , > > Thanks for your prompt reply on the price, I am satisfied with the > price and will be more than happy to offer you the ?10,000 as i am buying > for my wife and she will be glad to have it soon, as for the shipping i > will take care of that so you won't go through any stress on that i will > have someone to come and pick it up, kindly get back to me with your full > name and mailing address on where the payment will be mailed to and also > including your phone # on where can reach you. > > I will be looking forward to hearing back from you. > > Best Regard > Steve Cheney > > > > From: B Wilkinson > Sent: Thursday, May 27, 2021 11:47 PM > To: Steve Chenney > Subject: Re: Jaguar X350 Diesel Sovereign 2007 > > It is ?10000. > > Sent from my iPad > > > On 28 May 2021, at 00:43, Steve Chenney wrote: > > # > Good day , > > I am interested in buying your (Jaguar X350 Diesel Sovereign 2007) > you listed for sale. Kindly let me with the last asking price. > > Best Regard > Steve Cheney > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sun May 30 02:48:28 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 30 May 2021 08:48:28 +0100 Subject: [Tech1] TV set In-Reply-To: <59344eef79davesound@btinternet.com> References: <59344eef79davesound@btinternet.com> Message-ID: <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> Do you pay extra for the wall mount bracket, though? ?3K is an awful lot of loot, surely there?s a model that?s less expensive, but just as good ? have a look at Samsung! Ages ago, I bought a Panasonic projector which caters for Hi-Def, and use either a 6 ft or 9 ft screen for mounting film shows in my friends? dining room, but not at home, although I did put in hooks to take the 6 ft screen! If we talk about Home Cinema, take a look at this: https://procella.audio/sound-designer-david-croziers-garden-cinema/ (you might have to paste the link into your browser). Watch the video bit. I?m very envious! I know and have worked with David Crozier ? he?s a Production Sound Mixer in the film industry. Pat Sent from Mail for Windows 10 From: Dave Plowman via Tech1 Sent: 29 May 2021 18:06 To: tech1 at tech-ops.co.uk Subject: [Tech1] TV set Was looking online at large screen OLED TVs, and discovered the 'favourite' at about ?3000, is wall mount only. If you wish to to have it on a table etc or freestanding, you have to pay extra for a stand. -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pat.heigham at amps.net Sun May 30 03:13:10 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 30 May 2021 09:13:10 +0100 Subject: [Tech1] Phone Scam? In-Reply-To: References: <593471ad5cdavesound@btinternet.com> Message-ID: <60b34917.1c69fb81.f598f.5006@mx.google.com> Yes, these seem to originate from the Asian sub-continent and use ?borrowed? source numbers. I think Panorama managed an undercover camera, showing a very aggressive call-centre manager berating his human operators for not making their prescribed number of calls per shift. I haven?t had too many calls lately, used to get several per day, but my way of dealing with them is to look at the caller display and only answer if it shows a number that?s in my phone?s dialling memory. Otherwise the answer machine picks up and usually the incoming call is immediately dropped. Then, as my phone system shows the number, I mischievously ring it up, invariably I get: ?The number you dialled has not been recognised? An obvious fake call! The Surrey Police Neighbourhood Watch advice is to report these to ActionFraud UK, but others on this forum have mentioned the difficulty of getting through to them ? so use e-mail. (In the Bond film ?Goldeneye? there?s a Russian computer nerd who can send a spike to blow up the remote computer, shame that?s not for real!) Re: the car purchase stories: If the ?buyer? wants your bank details to make a transfer, he?s probably after your details for a nefarious purpose. Best use an intermediate account ? maybe PayPal or an escrow service that was suggested. Sadly everything has to be treated with suspicion ? what happened to trust? Nick ? loved the story about the boat ? know exactly who you were referring to, will reply privately, as I have a couple of stories, myself. Pat Sent from Mail for Windows 10 From: Alan Taylor via Tech1 Sent: 30 May 2021 05:29 To: tech1 Subject: Re: [Tech1] Phone Scam? These days, the vast majority of unrecognised numbers calling my mobile or land line seem to be spoofed numbers. I?ve long since given up calling back missed calls from unfamiliar numbers. If somebody leaves a message, then of course I call back, but call centres dont leave a message. Now that call centres use robot callers, I haven?t worked out a way to disrupt them. If a person originated the call, you could immediately say something like ?hang on a minute? and just leave the phone on the table while you continued to do what you were previously doing, just occasionally yelling ?nearly finished? in order to waste as much of their time as possible. But when it comes to the robot voice, apart from hanging up the second I realise it?s a robot, there?s not much you can do to annoy a robot. The way I quickly weed out the robots is to initially say nothing when I answer the phone to an unrecognised number. If nobody speaks for a few seconds, I say ?you called?? and that usually triggers the recorded message. I can then hang up before it has finished saying ?Good morning ...? If a person had called, they would respond to ?You called ?? by saying something like ?Yes, I?m calling from ...? Alan Taylor -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Sun May 30 05:35:20 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 30 May 2021 11:35:20 +0100 Subject: [Tech1] TV set In-Reply-To: <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> Message-ID: <5934aef9e1davesound@btinternet.com> In article <60b3434d.1c69fb81.9dd42.79cb at mx.google.com>, patheigham via Tech1 wrote: > ?3K is an awful lot of loot, surely there?s a model that?s less > expensive, but just as good ? have a look at Samsung! No thanks. My first large screen LCD TV was a Samsung. It failed just outside warranty. Power supply fault. The cost of a new PS exceeded the used value. It was also extremely tricky to set up to suit me. Had to Google how to, as the default settings were extremely garish, and not simple to adjust. And even then, flesh tones were poor. Seems to have been made to impress in the showroom on a demonstration video. Of course modern ones may be better. But once bitten... -- Dave Plowman dave at davesound.co.uk London SW 12 From davesound at btinternet.com Sun May 30 05:26:57 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 30 May 2021 11:26:57 +0100 Subject: [Tech1] TV set In-Reply-To: <73F75F17888C49ADB64AC91E8CA5029C@DESKTOP6GGCRV1> References: <59344eef79davesound@btinternet.com> <73F75F17888C49ADB64AC91E8CA5029C@DESKTOP6GGCRV1> Message-ID: <5934ae3675davesound@btinternet.com> Dave, wonder if you remember being told at Evesham that you should look down, rather than up, at a monitor for long time use? Hence in racks at TC, them being below the eyeline? For H & S reasons, although before that was thought of. ;-) Yet, by nature, a wall mounted TV is going to be above the eyeline when seated. In most practical rooms. My living room is two rooms made into one. So sort of long and narrow. And for best results, the speakers are across a narrow end. Therefore the only decent place for the TV is between them. And since there's a window there, not really practical to wall mount it. Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for wall mounted TVs never show the cables dangling or the trunking most use to make that neater. My real point was them only supplying a wall mount. Which if I were to buy that set would be scrap, so wasted. But at that high price, why not give you the choice? In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, David Newbitt via Tech1 wrote: > I can see why you might feel miffed at paying extra Dave but there is > another side to the argument. It's 3 years since we last changed our set and > bought a 50" Panasonic - not Oled but decent enough. It came with a > 'designer chrome stand which we didn't need as our viewing area works best > with wall fixing (why do most such finish up far too high up the wall, often > above a mantlepiece?). > So arguably we were not just paying for something not required but > contributing to unnecessary waste of materials and energy. On balance it > seems to me sensible for manufacturers to price elements of an installation > separately. > Dave Newbitt. > -----Original Message----- > From: Dave Plowman via Tech1 > Sent: Saturday, May 29, 2021 6:06 PM > To: tech1 at tech-ops.co.uk > Subject: [Tech1] TV set > Was looking online at large screen OLED TVs, and discovered the > 'favourite' at about ?3000, is wall mount only. If you wish to to have it > on a table etc or freestanding, you have to pay extra for a stand. > -- > Dave Plowman dave at davesound.co.uk London SW 12 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 From pat.heigham at amps.net Sun May 30 06:06:12 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 30 May 2021 12:06:12 +0100 Subject: [Tech1] TV set In-Reply-To: <5934aef9e1davesound@btinternet.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> <5934aef9e1davesound@btinternet.com> Message-ID: <60b371a5.1c69fb81.1e369.d425@mx.google.com> Sorry to hear of your bad experience with Samsung. I have a Sony Bravia 32? in the sitting room which is now rather ancient, but equipped my bedside table with a Samsung 22? which is just great. Bought an identical model for my friends? kitchen as a present for having me to stay. I discovered that in Currys/PC World, the demo sets are all fed from a computer harddrive, so what they look like off an aerial when the poor punters have got it home, must be a bit disappointed? Pat Sent from Mail for Windows 10 From: Dave Plowman via Tech1 Sent: 30 May 2021 11:35 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] TV set In article <60b3434d.1c69fb81.9dd42.79cb at mx.google.com>, patheigham via Tech1 wrote: > ?3K is an awful lot of loot, surely there?s a model that?s less > expensive, but just as good ? have a look at Samsung! No thanks. My first large screen LCD TV was a Samsung. It failed just outside warranty. Power supply fault. The cost of a new PS exceeded the used value. It was also extremely tricky to set up to suit me. Had to Google how to, as the default settings were extremely garish, and not simple to adjust. And even then, flesh tones were poor. Seems to have been made to impress in the showroom on a demonstration video. Of course modern ones may be better. But once bitten... -- Dave Plowman dave at davesound.co.uk London SW 12 -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From bernie833 at gmail.com Sun May 30 06:23:08 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Sun, 30 May 2021 12:23:08 +0100 Subject: [Tech1] TV set In-Reply-To: <60b371a5.1c69fb81.1e369.d425@mx.google.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> <5934aef9e1davesound@btinternet.com> <60b371a5.1c69fb81.1e369.d425@mx.google.com> Message-ID: It's all digital, probably looks the same. What matters with TV size is the angle it subtends at the eye. So I can sit here at my 2 x 22in computer monitors and watch tv on one screen whilst working on the other, and have the same viewing angle as some huge tv much further away. B On 30/05/2021 12:06, patheigham via Tech1 wrote: > > Sorry to hear of your bad experience with Samsung. I have a Sony > Bravia 32? in the sitting room which is now rather ancient, but > equipped my bedside table with a Samsung 22? which is just great. > Bought an identical model for my friends? kitchen as a present for > having me to stay. > > I discovered that in Currys/PC World, the demo sets are all fed from a > computer harddrive, so what they look like off an aerial when the poor > punters have got it home, must be a bit disappointed? > > Pat > > Sent from Mail for > Windows 10 > > *From: *Dave Plowman via Tech1 > *Sent: *30 May 2021 11:35 > *To: *tech1 at tech-ops.co.uk > *Subject: *Re: [Tech1] TV set > > In article <60b3434d.1c69fb81.9dd42.79cb at mx.google.com>, > > ?? patheigham via Tech1 wrote: > > > ?3K is an awful lot of loot, surely there?s a model that?s less > > > expensive, but just as good ? have a look at Samsung! > > No thanks. My first large screen LCD TV was a Samsung. It failed just > > outside warranty. Power supply fault. The cost of a new PS exceeded the > > used value. It was also extremely tricky to set up to suit me. Had to > > Google how to, as the default settings were extremely garish, and not > > simple to adjust. And even then, flesh tones were poor. Seems to have been > > made to impress in the showroom on a demonstration video. > > Of course modern ones may be better. But once bitten... > > -- > > ????Dave Plowman dave at davesound.co.uk???? London SW 12 > > > > ------------------------------------------------------------------------ > Avast logo > > This email has been checked for viruses by Avast antivirus software. > www.avast.com > > > <#DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2> > -------------- next part -------------- An HTML attachment was scrubbed... URL: From waresound at msn.com Sun May 30 06:23:16 2021 From: waresound at msn.com (Nick Ware) Date: Sun, 30 May 2021 11:23:16 +0000 Subject: [Tech1] TV set In-Reply-To: <5934ae3675davesound@btinternet.com> References: <59344eef79davesound@btinternet.com> <73F75F17888C49ADB64AC91E8CA5029C@DESKTOP6GGCRV1>, <5934ae3675davesound@btinternet.com> Message-ID: For ?19.99 you could get one of these: https://tinyurl.com/kkw8wwha Or, if it were me, I?d probably make one. Here?s how I wall-mounted our 40? using four pieces of strip-wood so that it is as close to the wall as possible, and with just enough downwards tilt to eliminate chandelier reflections, etc. Also a dead easy lift off for dusting behind the telly. SWMBO was impressed with that feature! To me, TV?s mounted above mantelpieces, etc., are an abomination - both of my sons have done that![cid:939918CB-5F2C-4D17-8AD7-A04436AC0D97] BTW, did anyone here watch Casualty last night? It seemed to me it set out to break every rule of composition possible. Diabolical framing start to finish. And why not 16x9? Do they think they are being clever, or what? Cheers, Nick. Nick Ware - Sent from my iPad mini 5 On 30 May 2021, at 11:36, Dave Plowman via Tech1 wrote: ?Dave, wonder if you remember being told at Evesham that you should look down, rather than up, at a monitor for long time use? Hence in racks at TC, them being below the eyeline? For H & S reasons, although before that was thought of. ;-) Yet, by nature, a wall mounted TV is going to be above the eyeline when seated. In most practical rooms. My living room is two rooms made into one. So sort of long and narrow. And for best results, the speakers are across a narrow end. Therefore the only decent place for the TV is between them. And since there's a window there, not really practical to wall mount it. Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for wall mounted TVs never show the cables dangling or the trunking most use to make that neater. My real point was them only supplying a wall mount. Which if I were to buy that set would be scrap, so wasted. But at that high price, why not give you the choice? In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, David Newbitt via Tech1 wrote: I can see why you might feel miffed at paying extra Dave but there is another side to the argument. It's 3 years since we last changed our set and bought a 50" Panasonic - not Oled but decent enough. It came with a 'designer chrome stand which we didn't need as our viewing area works best with wall fixing (why do most such finish up far too high up the wall, often above a mantlepiece?). So arguably we were not just paying for something not required but contributing to unnecessary waste of materials and energy. On balance it seems to me sensible for manufacturers to price elements of an installation separately. Dave Newbitt. -----Original Message----- From: Dave Plowman via Tech1 Sent: Saturday, May 29, 2021 6:06 PM To: tech1 at tech-ops.co.uk Subject: [Tech1] TV set Was looking online at large screen OLED TVs, and discovered the 'favourite' at about ?3000, is wall mount only. If you wish to to have it on a table etc or freestanding, you have to pay extra for a stand. -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image0.jpeg Type: image/jpeg Size: 2265183 bytes Desc: image0.jpeg URL: From waresound at msn.com Sun May 30 06:32:00 2021 From: waresound at msn.com (Nick Ware) Date: Sun, 30 May 2021 11:32:00 +0000 Subject: [Tech1] TV set In-Reply-To: <5934aef9e1davesound@btinternet.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com>, <5934aef9e1davesound@btinternet.com> Message-ID: You do know that they all come to you in showroom mode? Garish and over chroma?d etc as you say. Turn that mode off and it?s a different story. Maybe the extra demand on the power supply over time was too much for it. Equate that with ?sports mode? in your car, that burns fuel massively faster than necessary. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 > On 30 May 2021, at 11:36, Dave Plowman via Tech1 wrote: > > ?In article <60b3434d.1c69fb81.9dd42.79cb at mx.google.com>, > patheigham via Tech1 wrote: >> ?3K is an awful lot of loot, surely there's a model that's less >> expensive, but just as good - have a look at Samsung! > > No thanks. My first large screen LCD TV was a Samsung. It failed just > outside warranty. Power supply fault. The cost of a new PS exceeded the > used value. It was also extremely tricky to set up to suit me. Had to > Google how to, as the default settings were extremely garish, and not > simple to adjust. And even then, flesh tones were poor. Seems to have been > made to impress in the showroom on a demonstration video. > > Of course modern ones may be better. But once bitten... > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From pat.heigham at amps.net Sun May 30 07:28:53 2021 From: pat.heigham at amps.net (patheigham) Date: Sun, 30 May 2021 13:28:53 +0100 Subject: [Tech1] TV set In-Reply-To: References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> <5934aef9e1davesound@btinternet.com> <60b371a5.1c69fb81.1e369.d425@mx.google.com> Message-ID: <60b38506.1c69fb81.ef0d9.b08a@mx.google.com> What you surmise may well be true, but a lot depends on the punter?s aerial set up. A poor digital signal results in pixilating break up. I?m fortunate in that I live in a small block of flats with a professionally installed TV distribution system. Being ex-BBC, I?m very pernickety with the firm that installed it (Cranleigh Systems, who are excellent). Initially the engineer reckoned on an optimum position was for the mast to go through the roof. This worked until the flashing started to leak, so the mast was moved to the other end of the block, and the dis. system had to be reversed! All works well, and the amp had to be taken down a bit as we were getting a very strong terrestrial digital signal. Sadly, Satellite is not possible as the estate is surrounded by tall trees and there is no position to be found to mount a receiving dish. Much tooth sucking from engineers, from both Sky and the aforementioned Cranleigh Systems. I?m reminded of Dr.Dolittle (Rex Harrison version) being filmed at Castle Combe. It was necessary to take down the TV aerials to keep in period. The Company installed a receiving station on top of a nearby hill and fed everyone with cable. All except one old biddy, who refused, so her aerial was masked with a bit of dingle for the wide shots. When she saw the quality of her neighbours? pictures she then wanted in, but the Production Company denied her as she hadn?t wanted to help them earlier. Pat Sent from Mail for Windows 10 From: Bernard Newnham via Tech1 Sent: 30 May 2021 12:23 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] TV set It's all digital, probably looks the same. What matters with TV size is the angle it subtends at the eye. So I can sit here at my 2 x 22in computer monitors and watch tv on one screen whilst working on the other, and have the same viewing angle as some huge tv much further away. B -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... URL: From david.jasma at sky.com Sun May 30 08:05:23 2021 From: david.jasma at sky.com (Dave Buckley) Date: Sun, 30 May 2021 14:05:23 +0100 Subject: [Tech1] Phone scams References: Message-ID: I have had a number of these calls on my mobile, which is unusual as I don't give my mobile number out, and the phone is 99% of the time turned off! (The calls show up as missed). However, I have noticed (and this has been confirmed by Pat Heighams), that the numbers are 'real', although I don't recognise any that have come though to me, rather than 'fake' - that is, the exchange code doesn't exist. On our land line, a fake call shows up on the call indicator momentarily as 'international' before changing quickly to another number - I then press cancel to cut the call off. Now for a thought, there has been some talk in the technical press that BT is changing to Voice over internet. Could this be the reason for these calls being generated - in other words, there's some sort of bug in the system? Dave Buckley -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus From davesound at btinternet.com Sun May 30 08:43:20 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 30 May 2021 14:43:20 +0100 Subject: [Tech1] TV set In-Reply-To: <60b371a5.1c69fb81.1e369.d425@mx.google.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> <5934aef9e1davesound@btinternet.com> <60b371a5.1c69fb81.1e369.d425@mx.google.com> Message-ID: <5934c0305fdavesound@btinternet.com> In article <60b371a5.1c69fb81.1e369.d425 at mx.google.com>, patheigham via Tech1 wrote: > Sorry to hear of your bad experience with Samsung. I have a Sony Bravia > 32? in the sitting room which is now rather ancient, but equipped my > bedside table with a Samsung 22? which is just great. Bought an > identical model for my friends? kitchen as a present for having me to > stay. I have a 24" Samsung in this room and it's been fine, although to be accurate it doesn't get as much use as the main set. Hence buying the larger one on that basis. I also have a Samsung phone. -- Dave Plowman dave at davesound.co.uk London SW 12 From davesound at btinternet.com Sun May 30 08:44:45 2021 From: davesound at btinternet.com (Dave Plowman) Date: Sun, 30 May 2021 14:44:45 +0100 Subject: [Tech1] TV set In-Reply-To: <60b38506.1c69fb81.ef0d9.b08a@mx.google.com> References: <59344eef79davesound@btinternet.com> <60b3434d.1c69fb81.9dd42.79cb@mx.google.com> <5934aef9e1davesound@btinternet.com> <60b371a5.1c69fb81.1e369.d425@mx.google.com> <60b38506.1c69fb81.ef0d9.b08a@mx.google.com> Message-ID: <5934c04ccfdavesound@btinternet.com> In article <60b38506.1c69fb81.ef0d9.b08a at mx.google.com>, patheigham via Tech1 wrote: > What you surmise may well be true, but a lot depends on the punter?s > aerial set up. A poor digital signal results in pixilating break up. I?m > fortunate in that I live in a small block of flats with a professionally > installed TV distribution system. I can see the CP mast from the upstairs here. ;-) -- Dave Plowman dave at davesound.co.uk London SW 12 From grahamthecameraman at icloud.com Sun May 30 13:39:35 2021 From: grahamthecameraman at icloud.com (Graham Maunder) Date: Sun, 30 May 2021 19:39:35 +0100 Subject: [Tech1] TV set In-Reply-To: <5934ae3675davesound@btinternet.com> References: <5934ae3675davesound@btinternet.com> Message-ID: <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A@icloud.com> Interestingly I was at a friend?s new house yesterday and they had just bought a new TV which had 2 points I liked When it is off it displays a work of art as if in a frame but more importantly it has just one very thin cable going to it that carries everything and there is a separate box that has all the ins and outs, power etc. that you can conceal in a cupboard or wherever. First time I?d seen such a thing and thought it was very clever. Also he served Bollinger so I?ll be returning! Graham Maunder Sent from my iPhone > On 30 May 2021, at 11:36, Dave Plowman via Tech1 wrote: > > ?Dave, wonder if you remember being told at Evesham that you should look > down, rather than up, at a monitor for long time use? Hence in racks at > TC, them being below the eyeline? For H & S reasons, although before that > was thought of. ;-) > > Yet, by nature, a wall mounted TV is going to be above the eyeline when > seated. In most practical rooms. > > My living room is two rooms made into one. So sort of long and narrow. And > for best results, the speakers are across a narrow end. Therefore the only > decent place for the TV is between them. And since there's a window there, > not really practical to wall mount it. > > Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for > wall mounted TVs never show the cables dangling or the trunking most use > to make that neater. > > My real point was them only supplying a wall mount. Which if I were to buy > that set would be scrap, so wasted. But at that high price, why not give > you the choice? > > > In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, > David Newbitt via Tech1 wrote: >> I can see why you might feel miffed at paying extra Dave but there is >> another side to the argument. It's 3 years since we last changed our set and >> bought a 50" Panasonic - not Oled but decent enough. It came with a >> 'designer chrome stand which we didn't need as our viewing area works best >> with wall fixing (why do most such finish up far too high up the wall, often >> above a mantlepiece?). > >> So arguably we were not just paying for something not required but >> contributing to unnecessary waste of materials and energy. On balance it >> seems to me sensible for manufacturers to price elements of an installation >> separately. > >> Dave Newbitt. > >> -----Original Message----- >> From: Dave Plowman via Tech1 >> Sent: Saturday, May 29, 2021 6:06 PM >> To: tech1 at tech-ops.co.uk >> Subject: [Tech1] TV set > >> Was looking online at large screen OLED TVs, and discovered the >> 'favourite' at about ?3000, is wall mount only. If you wish to to have it >> on a table etc or freestanding, you have to pay extra for a stand. > >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 > > >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From dnewbitt at fireflyuk.net Sun May 30 14:06:53 2021 From: dnewbitt at fireflyuk.net (David Newbitt) Date: Sun, 30 May 2021 20:06:53 +0100 Subject: [Tech1] TV set In-Reply-To: <5934ae3675davesound@btinternet.com> References: <59344eef79davesound@btinternet.com><73F75F17888C49ADB64AC91E8CA5029C@DESKTOP6GGCRV1> <5934ae3675davesound@btinternet.com> Message-ID: <7A948C6B81DD48BE8CBF1831EB390597@DESKTOP6GGCRV1> That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? Best wishes, Dave Newbitt. -----Original Message----- From: Dave Plowman via Tech1 Sent: Sunday, May 30, 2021 11:26 AM To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] TV set Dave, wonder if you remember being told at Evesham that you should look down, rather than up, at a monitor for long time use? Hence in racks at TC, them being below the eyeline? For H & S reasons, although before that was thought of. ;-) Yet, by nature, a wall mounted TV is going to be above the eyeline when seated. In most practical rooms. My living room is two rooms made into one. So sort of long and narrow. And for best results, the speakers are across a narrow end. Therefore the only decent place for the TV is between them. And since there's a window there, not really practical to wall mount it. Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for wall mounted TVs never show the cables dangling or the trunking most use to make that neater. My real point was them only supplying a wall mount. Which if I were to buy that set would be scrap, so wasted. But at that high price, why not give you the choice? In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, David Newbitt via Tech1 wrote: > I can see why you might feel miffed at paying extra Dave but there is > another side to the argument. It's 3 years since we last changed our set > and > bought a 50" Panasonic - not Oled but decent enough. It came with a > 'designer chrome stand which we didn't need as our viewing area works best > with wall fixing (why do most such finish up far too high up the wall, > often > above a mantlepiece?). > So arguably we were not just paying for something not required but > contributing to unnecessary waste of materials and energy. On balance it > seems to me sensible for manufacturers to price elements of an > installation > separately. > Dave Newbitt. > -----Original Message----- > From: Dave Plowman via Tech1 > Sent: Saturday, May 29, 2021 6:06 PM > To: tech1 at tech-ops.co.uk > Subject: [Tech1] TV set > Was looking online at large screen OLED TVs, and discovered the > 'favourite' at about ?3000, is wall mount only. If you wish to to have it > on a table etc or freestanding, you have to pay extra for a stand. > -- > Dave Plowman dave at davesound.co.uk London SW 12 > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Dave Plowman dave at davesound.co.uk London SW 12 -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From dave.mdv at btinternet.com Sun May 30 15:08:35 2021 From: dave.mdv at btinternet.com (dave.mdv) Date: Sun, 30 May 2021 21:08:35 +0100 Subject: [Tech1] Catch-up Message-ID: I've just been reading the last loads of e-mails to arrive. Re. angle of view, this was thought about many years ago in the days of CRT TVs when Ferguson (ugh) TVs used a CRT with the triple RGB guns being installed 180? differently to all the other makers, to compensate from looking downwards at the set. Spam phone calls, I get several a week and some have 0207xxxxx numbers which appear to be Inner London, but are fake and some are obviously wrong, but recently I have had several labelled as 'number unavailable'. Re. Russian/US anti-spammers et al., there are lots of videos on YouTube of them totally destroying scammer's PC memories etc. with the scammers begging to have them restored! Whoopee! Cheers, Dave From mibridge at mac.com Sun May 30 18:15:29 2021 From: mibridge at mac.com (Mike Giles) Date: Mon, 31 May 2021 00:15:29 +0100 Subject: [Tech1] TV set In-Reply-To: <7A948C6B81DD48BE8CBF1831EB390597@DESKTOP6GGCRV1> References: <7A948C6B81DD48BE8CBF1831EB390597@DESKTOP6GGCRV1> Message-ID: <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> I too recall being told at Evesham that viewing was most comfortable with the screen a few degrees below horizontal eye-line. That was on TO21. Mike G > On 30 May 2021, at 20:07, David Newbitt via Tech1 wrote: > > ?That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! > > Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. > > Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? > > Best wishes, > > Dave Newbitt. > > -----Original Message----- From: Dave Plowman via Tech1 > Sent: Sunday, May 30, 2021 11:26 AM > To: tech1 at tech-ops.co.uk > Subject: Re: [Tech1] TV set > > Dave, wonder if you remember being told at Evesham that you should look > down, rather than up, at a monitor for long time use? Hence in racks at > TC, them being below the eyeline? For H & S reasons, although before that > was thought of. ;-) > > Yet, by nature, a wall mounted TV is going to be above the eyeline when > seated. In most practical rooms. > > My living room is two rooms made into one. So sort of long and narrow. And > for best results, the speakers are across a narrow end. Therefore the only > decent place for the TV is between them. And since there's a window there, > not really practical to wall mount it. > > Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for > wall mounted TVs never show the cables dangling or the trunking most use > to make that neater. > > My real point was them only supplying a wall mount. Which if I were to buy > that set would be scrap, so wasted. But at that high price, why not give > you the choice? > > > In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, > David Newbitt via Tech1 wrote: >> I can see why you might feel miffed at paying extra Dave but there is >> another side to the argument. It's 3 years since we last changed our set and >> bought a 50" Panasonic - not Oled but decent enough. It came with a >> 'designer chrome stand which we didn't need as our viewing area works best >> with wall fixing (why do most such finish up far too high up the wall, often >> above a mantlepiece?). > >> So arguably we were not just paying for something not required but >> contributing to unnecessary waste of materials and energy. On balance it >> seems to me sensible for manufacturers to price elements of an installation >> separately. > >> Dave Newbitt. > >> -----Original Message----- From: Dave Plowman via Tech1 >> Sent: Saturday, May 29, 2021 6:06 PM >> To: tech1 at tech-ops.co.uk >> Subject: [Tech1] TV set > >> Was looking online at large screen OLED TVs, and discovered the >> 'favourite' at about ?3000, is wall mount only. If you wish to to have it >> on a table etc or freestanding, you have to pay extra for a stand. > >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 > > >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From waresound at msn.com Mon May 31 02:43:35 2021 From: waresound at msn.com (Nick Ware) Date: Mon, 31 May 2021 07:43:35 +0000 Subject: [Tech1] TV set In-Reply-To: <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> References: <7A948C6B81DD48BE8CBF1831EB390597@DESKTOP6GGCRV1>, <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> Message-ID: Surely, it?s commonsense though, isn?t it? Looking up at a high mounted screen or down at one that?s too low, it will appear trapezoid. Since most image material is roughly speaking shot at eye level, you probably don?t want that trapezoid too. And posture-wise, a slight down tilt of your eyes/head is most relaxing. That?s how your computer screen should be positioned too. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 > On 31 May 2021, at 00:16, Mike Giles via Tech1 wrote: > > ?I too recall being told at Evesham that viewing was most comfortable with the screen a few degrees below horizontal eye-line. That was on TO21. > > Mike G > >>> On 30 May 2021, at 20:07, David Newbitt via Tech1 wrote: >>> >>> ?That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! >>> >>> Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. >>> >>> Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? >>> >>> Best wishes, >>> >>> Dave Newbitt. >>> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Sunday, May 30, 2021 11:26 AM >>> To: tech1 at tech-ops.co.uk >>> Subject: Re: [Tech1] TV set >>> >>> Dave, wonder if you remember being told at Evesham that you should look >>> down, rather than up, at a monitor for long time use? Hence in racks at >>> TC, them being below the eyeline? For H & S reasons, although before that >>> was thought of. ;-) >>> >>> Yet, by nature, a wall mounted TV is going to be above the eyeline when >>> seated. In most practical rooms. >>> >>> My living room is two rooms made into one. So sort of long and narrow. And >>> for best results, the speakers are across a narrow end. Therefore the only >>> decent place for the TV is between them. And since there's a window there, >>> not really practical to wall mount it. >>> >>> Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for >>> wall mounted TVs never show the cables dangling or the trunking most use >>> to make that neater. >>> >>> My real point was them only supplying a wall mount. Which if I were to buy >>> that set would be scrap, so wasted. But at that high price, why not give >>> you the choice? >>> >>> >>> In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, >>> David Newbitt via Tech1 wrote: >>> I can see why you might feel miffed at paying extra Dave but there is >>> another side to the argument. It's 3 years since we last changed our set and >>> bought a 50" Panasonic - not Oled but decent enough. It came with a >>> 'designer chrome stand which we didn't need as our viewing area works best >>> with wall fixing (why do most such finish up far too high up the wall, often >>> above a mantlepiece?). >> >>> So arguably we were not just paying for something not required but >>> contributing to unnecessary waste of materials and energy. On balance it >>> seems to me sensible for manufacturers to price elements of an installation >>> separately. >> >>> Dave Newbitt. >> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Saturday, May 29, 2021 6:06 PM >>> To: tech1 at tech-ops.co.uk >>> Subject: [Tech1] TV set >> >>> Was looking online at large screen OLED TVs, and discovered the >>> 'favourite' at about ?3000, is wall mount only. If you wish to to have it >>> on a table etc or freestanding, you have to pay extra for a stand. >> >>> -- >>> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From ohbytheway.tv at gmail.com Mon May 31 03:00:44 2021 From: ohbytheway.tv at gmail.com (David Denness) Date: Mon, 31 May 2021 09:00:44 +0100 Subject: [Tech1] TV set In-Reply-To: References: <7A948C6B81DD48BE8CBF1831EB390597@DESKTOP6GGCRV1>, <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> Message-ID: <002e01d755f3$0f322f40$2d968dc0$@gmail.com> It was pointed out by Terry Wogan some years ago that most people with TV sets of 5 feet wide and above cannot afford curtains Dave D -----Original Message----- From: Tech1 On Behalf Of Nick Ware via Tech1 Sent: 31 May 2021 08:44 To: tech1 at tech-ops.co.uk Subject: Re: [Tech1] TV set Surely, it?s commonsense though, isn?t it? Looking up at a high mounted screen or down at one that?s too low, it will appear trapezoid. Since most image material is roughly speaking shot at eye level, you probably don?t want that trapezoid too. And posture-wise, a slight down tilt of your eyes/head is most relaxing. That?s how your computer screen should be positioned too. Cheers, Nick. Nick Ware - Sent from my iPad mini 5 > On 31 May 2021, at 00:16, Mike Giles via Tech1 wrote: > > ?I too recall being told at Evesham that viewing was most comfortable with the screen a few degrees below horizontal eye-line. That was on TO21. > > Mike G > >>> On 30 May 2021, at 20:07, David Newbitt via Tech1 wrote: >>> >>> ?That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! >>> >>> Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. >>> >>> Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? >>> >>> Best wishes, >>> >>> Dave Newbitt. >>> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Sunday, May 30, 2021 11:26 AM >>> To: tech1 at tech-ops.co.uk >>> Subject: Re: [Tech1] TV set >>> >>> Dave, wonder if you remember being told at Evesham that you should >>> look down, rather than up, at a monitor for long time use? Hence in >>> racks at TC, them being below the eyeline? For H & S reasons, >>> although before that was thought of. ;-) >>> >>> Yet, by nature, a wall mounted TV is going to be above the eyeline >>> when seated. In most practical rooms. >>> >>> My living room is two rooms made into one. So sort of long and >>> narrow. And for best results, the speakers are across a narrow end. >>> Therefore the only decent place for the TV is between them. And >>> since there's a window there, not really practical to wall mount it. >>> >>> Besides, hiding cables to a wall mounted TV is quite a chore. >>> Adverts for wall mounted TVs never show the cables dangling or the >>> trunking most use to make that neater. >>> >>> My real point was them only supplying a wall mount. Which if I were >>> to buy that set would be scrap, so wasted. But at that high price, >>> why not give you the choice? >>> >>> >>> In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, >>> David Newbitt via Tech1 wrote: >>> I can see why you might feel miffed at paying extra Dave but there >>> is another side to the argument. It's 3 years since we last changed >>> our set and bought a 50" Panasonic - not Oled but decent enough. It >>> came with a 'designer chrome stand which we didn't need as our >>> viewing area works best with wall fixing (why do most such finish up >>> far too high up the wall, often above a mantlepiece?). >> >>> So arguably we were not just paying for something not required but >>> contributing to unnecessary waste of materials and energy. On >>> balance it seems to me sensible for manufacturers to price elements >>> of an installation separately. >> >>> Dave Newbitt. >> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Saturday, May 29, 2021 6:06 PM >>> To: tech1 at tech-ops.co.uk >>> Subject: [Tech1] TV set >> >>> Was looking online at large screen OLED TVs, and discovered the >>> 'favourite' at about ?3000, is wall mount only. If you wish to to >>> have it on a table etc or freestanding, you have to pay extra for a stand. >> >>> -- >>> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk -- Tech1 mailing list Tech1 at tech-ops.co.uk http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From alanaudio at me.com Mon May 31 03:38:09 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 31 May 2021 09:38:09 +0100 Subject: [Tech1] TV set In-Reply-To: <002e01d755f3$0f322f40$2d968dc0$@gmail.com> References: <002e01d755f3$0f322f40$2d968dc0$@gmail.com> Message-ID: I used to frequently walk past a house where they had a truly enormous plasma TV. It was sited in the window, totally blocking any light coming in except for a small area above the screen. I don?t know the exact size of it, but the window was about six feet wide and the screen was wider than that. I assumed it was a plasma screen because the back of it had four cooling fans. They probably didn?t need to heat that room. In our house, we opted for a wall mounted TV, but not a particularly big one. The wall mount is a heavy duty double articulated mount, with a maximum extension of over 500cm from the wall. It?s sited near a corner. The long arms allows us to swing it between two positions. One is for when just the two of us are there, with the TV along one wall, while the other position offsets the TV sideways along the other wall so that it can also be seen by guests sitting at the other end of the room. The articulated arm for the TV claims to have cable management facilities, but either I?m using thicker cables or more cables than anybody else, or else the very neat cable management is only intended for a mains flex and aerial lead, maybe with an HDMI cable too. I had to devise my own way of making all my cables move with the support arms. Alan Taylor > On 31 May 2021, at 09:01, David Denness via Tech1 wrote: > > ?It was pointed out by Terry Wogan some years ago that most people with TV sets of 5 feet wide and above cannot afford curtains > Dave D > From bernie833 at gmail.com Mon May 31 04:29:03 2021 From: bernie833 at gmail.com (Bernard Newnham) Date: Mon, 31 May 2021 10:29:03 +0100 Subject: [Tech1] TV set In-Reply-To: References: <002e01d755f3$0f322f40$2d968dc0$@gmail.com> Message-ID: Long ago I built a unit to carry all our LPs, CDs and Selectavision discs, small speakers, record deck and tuner, cassette player and amp. In the middle was room for a 21" 4:3 CRT tv.?? The fireplace one side and the wall the other, window behind, so no place to expand.? When the time came to switch to a 16:9 flat screen, what was important was that it fitted the slot. So no monster tvs for us.? The flat screen left room for a large subwoofer behind on the shelf. One of the highlights of my career was walking home one evening. We lived in Ruislip at the end of a street of terraced houses - lots of tvs in the front rooms. I spent four years producing Points of View - we recorded in the afternoon, then I went to edit, and I would watch it go out at home. One evening we ran a bit late on the edit, so I was walking home down the street of terraced houses when the show was on. All down the street was my show in peoples living rooms. B On 31/05/2021 09:38, Alan Taylor via Tech1 wrote: > I used to frequently walk past a house where they had a truly enormous plasma TV. It was sited in the window, totally blocking any light coming in except for a small area above the screen. > > I don?t know the exact size of it, but the window was about six feet wide and the screen was wider than that. I assumed it was a plasma screen because the back of it had four cooling fans. They probably didn?t need to heat that room. > > In our house, we opted for a wall mounted TV, but not a particularly big one. The wall mount is a heavy duty double articulated mount, with a maximum extension of over 500cm from the wall. It?s sited near a corner. The long arms allows us to swing it between two positions. One is for when just the two of us are there, with the TV along one wall, while the other position offsets the TV sideways along the other wall so that it can also be seen by guests sitting at the other end of the room. > > The articulated arm for the TV claims to have cable management facilities, but either I?m using thicker cables or more cables than anybody else, or else the very neat cable management is only intended for a mains flex and aerial lead, maybe with an HDMI cable too. I had to devise my own way of making all my cables move with the support arms. > > Alan Taylor > > >> On 31 May 2021, at 09:01, David Denness via Tech1 wrote: >> >> ?It was pointed out by Terry Wogan some years ago that most people with TV sets of 5 feet wide and above cannot afford curtains >> Dave D >> -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Mon May 31 05:15:37 2021 From: davesound at btinternet.com (Dave Plowman) Date: Mon, 31 May 2021 11:15:37 +0100 Subject: [Tech1] TV set In-Reply-To: <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A@icloud.com> References: <5934ae3675davesound@btinternet.com> <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A@icloud.com> Message-ID: <593531012adavesound@btinternet.com> Interesting, Graham. As I said I've been looking online at TV options, and not come across this single cable option. Suppose it could be done with fibre optics, but of course you're simply moving the problem elsewhere. Do you remember what make of TV it was? My take was to make up custom in/outs on blank socket plates and mount them in the skirting alongside the normal mains. Of course you can buy such things, but not on the same plates as all the sockets and switches in the room. Neutric do a nice range of various connectors in an XLR body which makes it quite easy to do, as the same hole cutter works for all. Expensive, though. In article <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A at icloud.com>, Graham Maunder via Tech1 wrote: > Interestingly I was at a friend?s new house yesterday and they had just > bought a new TV which had 2 points I liked When it is off it displays a > work of art as if in a frame but more importantly it has just one very > thin cable going to it that carries everything and there is a separate > box that has all the ins and outs, power etc. that you can conceal in a > cupboard or wherever. First time I?d seen such a thing and thought it > was very clever. Also he served Bollinger so I?ll be returning! > Graham Maunder -- Dave Plowman dave at davesound.co.uk London SW 12 From alanaudio at me.com Mon May 31 05:58:09 2021 From: alanaudio at me.com (Alan Taylor) Date: Mon, 31 May 2021 11:58:09 +0100 Subject: [Tech1] TV set In-Reply-To: <593531012adavesound@btinternet.com> References: <593531012adavesound@btinternet.com> Message-ID: If I?m thinking of what you?re thinking, you can buy modular panels which fit in standard single or double gang mains sockets. You buy a blank 2 gang panel with pre-made cutouts and then whatever permutation you need of small, snap-in modules with various A/V connectors on. The ones sold by CPC are called Euro modules, but they will doubtless soon be replaced by Great British modules which won?t fit. However when you say not the same plate, it could also mean that you have a different decor plate on fixtures in the room, in which case you are unlikely to find matching A/V panels because most of these pre-fitted panels come in any colour you want, so long as it?s white. You can buy plates pre-fitted with quite amazing combinations of sockets. We?re shortly going to have our kitchen refitted and although we like the look of some of the stylish switches and sockets, we decided to get white ones throughout because slightly unusual variants are seldom available in other styles. I?ve also specified that when back boxes are installed, they must be 25mm deep, irrespective of what goes in. The reason being that in the future, I could anticipate adding smart switches or sockets and some of them need more space behind the wall. Even when I tried to substitute a dimmer switch in one room, it wouldn?t fit because the back box was too shallow. Talking of smart homes, does anybody have experience of electrically operated roller blinds which work with Apple?s HomeKit? IKEA sell some sensibly priced ones, but their widest one is not quite wide enough for the main window, while most of the other companies selling such things want to charge silly money. There must be some middle ground? Alan Taylor > On 31 May 2021, at 11:21, Dave Plowman via Tech1 wrote: > > ?Interesting, Graham. As I said I've been looking online at TV options, and > not come across this single cable option. Suppose it could be done with > fibre optics, but of course you're simply moving the problem elsewhere. > Do you remember what make of TV it was? > > My take was to make up custom in/outs on blank socket plates and mount > them in the skirting alongside the normal mains. Of course you can buy > such things, but not on the same plates as all the sockets and switches in > the room. Neutric do a nice range of various connectors in an XLR body > which makes it quite easy to do, as the same hole cutter works for all. > Expensive, though. > > > In article <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A at icloud.com>, > Graham Maunder via Tech1 wrote: >> Interestingly I was at a friend?s new house yesterday and they had just >> bought a new TV which had 2 points I liked When it is off it displays a >> work of art as if in a frame but more importantly it has just one very >> thin cable going to it that carries everything and there is a separate >> box that has all the ins and outs, power etc. that you can conceal in a >> cupboard or wherever. First time I?d seen such a thing and thought it >> was very clever. Also he served Bollinger so I?ll be returning! > >> Graham Maunder > > -- > Dave Plowman dave at davesound.co.uk London SW 12 > > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From geoff.hawkes134 at gmail.com Mon May 31 06:22:33 2021 From: geoff.hawkes134 at gmail.com (Geoffrey Hawkes) Date: Mon, 31 May 2021 12:22:33 +0100 Subject: [Tech1] TV set In-Reply-To: <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> References: <558CF9F6-962F-4BDC-9EAD-E7F1EE714223@mac.com> Message-ID: The important point I remember being told at Evesham was the horizontal angle of view that the screen should subtend to the eye, it being a factor of the screen size and viewing distance. Too small and it gave no opportunity for the eye to rove the screen, leading to eye strain from staring at a fixed point. Early b/w sets were small, hence the optional magnifying glass and the same with early colour sets, the 9in Sony Trinitron comes to mind. I can?t remember if there was a maximum prescribed angle as it probably wouldn?t have arisen. Nowadays it seems that anything under 3ft is classed as small. Ours is a mere 32in and viewed from 9ft in our living room is fine. I might?ve gone for a larger screen but it wouldn?t have fitted the space as well and my wife thought it would dominate the room when switched off, which for most of the day it is. Sound wise we have a Bose sound bar which works well, though mounted on a shelf on the tv trolly 12in below the screen isn?t ideal (I didn?t want to sit the set on top of it as it would be unstable) but most of the time I don?t notice. The main aggravation, as has been previously discussed is having to adjust the volume when switching programmes, or from the recorder to live, Geoff > On 31 May 2021, at 00:16, Mike Giles via Tech1 wrote: > > ?I too recall being told at Evesham that viewing was most comfortable with the screen a few degrees below horizontal eye-line. That was on TO21. > > Mike G > >>> On 30 May 2021, at 20:07, David Newbitt via Tech1 wrote: >>> >>> ?That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! >>> >>> Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. >>> >>> Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? >>> >>> Best wishes, >>> >>> Dave Newbitt. >>> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Sunday, May 30, 2021 11:26 AM >>> To: tech1 at tech-ops.co.uk >>> Subject: Re: [Tech1] TV set >>> >>> Dave, wonder if you remember being told at Evesham that you should look >>> down, rather than up, at a monitor for long time use? Hence in racks at >>> TC, them being below the eyeline? For H & S reasons, although before that >>> was thought of. ;-) >>> >>> Yet, by nature, a wall mounted TV is going to be above the eyeline when >>> seated. In most practical rooms. >>> >>> My living room is two rooms made into one. So sort of long and narrow. And >>> for best results, the speakers are across a narrow end. Therefore the only >>> decent place for the TV is between them. And since there's a window there, >>> not really practical to wall mount it. >>> >>> Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for >>> wall mounted TVs never show the cables dangling or the trunking most use >>> to make that neater. >>> >>> My real point was them only supplying a wall mount. Which if I were to buy >>> that set would be scrap, so wasted. But at that high price, why not give >>> you the choice? >>> >>> >>> In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, >>> David Newbitt via Tech1 wrote: >>> I can see why you might feel miffed at paying extra Dave but there is >>> another side to the argument. It's 3 years since we last changed our set and >>> bought a 50" Panasonic - not Oled but decent enough. It came with a >>> 'designer chrome stand which we didn't need as our viewing area works best >>> with wall fixing (why do most such finish up far too high up the wall, often >>> above a mantlepiece?). >> >>> So arguably we were not just paying for something not required but >>> contributing to unnecessary waste of materials and energy. On balance it >>> seems to me sensible for manufacturers to price elements of an installation >>> separately. >> >>> Dave Newbitt. >> >>> -----Original Message----- From: Dave Plowman via Tech1 >>> Sent: Saturday, May 29, 2021 6:06 PM >>> To: tech1 at tech-ops.co.uk >>> Subject: [Tech1] TV set >> >>> Was looking online at large screen OLED TVs, and discovered the >>> 'favourite' at about ?3000, is wall mount only. If you wish to to have it >>> on a table etc or freestanding, you have to pay extra for a stand. >> >>> -- >>> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Dave Plowman dave at davesound.co.uk London SW 12 >> >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > > -- > Tech1 mailing list > Tech1 at tech-ops.co.uk > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk From ravenscourt1 at btinternet.com Mon May 31 06:54:49 2021 From: ravenscourt1 at btinternet.com (Albert Barber) Date: Mon, 31 May 2021 12:54:49 +0100 Subject: [Tech1] Fwd: TV set References: Message-ID: > Begin forwarded message: > > From: Albert Barber > Subject: Re: [Tech1] TV set > Date: 31 May 2021 at 12:54:08 BST > To: Geoffrey Hawkes > Cc: A Barber > > Can anyone put this in simple terms please? > Representation of visual angle in visual cortex[edit] > The brain's primary visual cortex (area V1 or Brodmann area 17) contains a spatially isomorphic representation of the retina (see retinotopy). Loosely speaking, it is a distorted "map" of the retina. Accordingly, the size of a given retinal image determines the extent of the neural activity pattern eventually generated in area V1 by the associated retinal activity pattern. Murray, Boyaci, & Kersten (2006) recently used Functional magnetic resonance imaging (fMRI) to show that an increase in a viewed target's visual angle, which increases , also increases the extent of the corresponding neural activity pattern in area V1. > > The observers in Murray 'et al.'s' experiment viewed a flat picture with two discs that subtended the same visual angle and formed retinal images of the same size , but the perceived angular size of one was about 17% larger than for the other, due to differences in the background patterns for the disks. It was shown that the areas of the activity in V1 related to the disks were of unequal size, despite the fact that the retinal images were the same size. This size difference in area V1 correlated with the 17% illusory difference between the perceived visual angles. This finding has implications for spatial illusions such as the visual angle illusion.[5] > >> On 31 May 2021, at 12:22, Geoffrey Hawkes via Tech1 wrote: >> >> The important point I remember being told at Evesham was the horizontal angle of view that the screen should subtend to the eye, it being a factor of the screen size and viewing distance. Too small and it gave no opportunity for the eye to rove the screen, leading to eye strain from staring at a fixed point. >> Early b/w sets were small, hence the optional magnifying glass and the same with early colour sets, the 9in Sony Trinitron comes to mind. I can?t remember if there was a maximum prescribed angle as it probably wouldn?t have arisen. Nowadays it seems that anything under 3ft is classed as small. Ours is a mere 32in and viewed from 9ft in our living room is fine. I might?ve gone for a larger screen but it wouldn?t have fitted the space as well and my wife thought it would dominate the room when switched off, which for most of the day it is. >> Sound wise we have a Bose sound bar which works well, though mounted on a shelf on the tv trolly 12in below the screen isn?t ideal (I didn?t want to sit the set on top of it as it would be unstable) but most of the time I don?t notice. The main aggravation, as has been previously discussed is having to adjust the volume when switching programmes, or from the recorder to live, >> Geoff >> >>> On 31 May 2021, at 00:16, Mike Giles via Tech1 wrote: >>> >>> ?I too recall being told at Evesham that viewing was most comfortable with the screen a few degrees below horizontal eye-line. That was on TO21. >>> >>> Mike G >>> >>>>> On 30 May 2021, at 20:07, David Newbitt via Tech1 wrote: >>>>> >>>>> ?That's an interesting recollection Dave. I've always had a strong awareness of screen height for comfortable viewing and it is more than possible that began with the Evesham teaching on the matter. As we were on the same course I must have heard what you heard but in truth I don't remember! >>>>> >>>>> Height-wise our screen is centred just 1 metre off the floor with it's lower edge 100 mm up from the low hi-fi housing unit it is positioned above. A pair of wall bracket mounted Dali Menuet speakers flank the screen with their lower edges in line with the bottom of the TV and their upper edges roughly on the centre line of the screen. These were bought less than a year ago to replace a pair of Royal Menuet II's bought way back in 1998 which finally showed signs of tweeter failure. >>>>> >>>>> Not since bachelor days have I been able to indulge in stonking great floor-standers and these Dalis are at the other end of the size scale. Not cheap but to my ears a more than acceptable quality. Ever come across them? >>>>> >>>>> Best wishes, >>>>> >>>>> Dave Newbitt. >>>>> >>>>> -----Original Message----- From: Dave Plowman via Tech1 >>>>> Sent: Sunday, May 30, 2021 11:26 AM >>>>> To: tech1 at tech-ops.co.uk >>>>> Subject: Re: [Tech1] TV set >>>>> >>>>> Dave, wonder if you remember being told at Evesham that you should look >>>>> down, rather than up, at a monitor for long time use? Hence in racks at >>>>> TC, them being below the eyeline? For H & S reasons, although before that >>>>> was thought of. ;-) >>>>> >>>>> Yet, by nature, a wall mounted TV is going to be above the eyeline when >>>>> seated. In most practical rooms. >>>>> >>>>> My living room is two rooms made into one. So sort of long and narrow. And >>>>> for best results, the speakers are across a narrow end. Therefore the only >>>>> decent place for the TV is between them. And since there's a window there, >>>>> not really practical to wall mount it. >>>>> >>>>> Besides, hiding cables to a wall mounted TV is quite a chore. Adverts for >>>>> wall mounted TVs never show the cables dangling or the trunking most use >>>>> to make that neater. >>>>> >>>>> My real point was them only supplying a wall mount. Which if I were to buy >>>>> that set would be scrap, so wasted. But at that high price, why not give >>>>> you the choice? >>>>> >>>>> >>>>> In article <73F75F17888C49ADB64AC91E8CA5029C at DESKTOP6GGCRV1>, >>>>> David Newbitt via Tech1 wrote: >>>>> I can see why you might feel miffed at paying extra Dave but there is >>>>> another side to the argument. It's 3 years since we last changed our set and >>>>> bought a 50" Panasonic - not Oled but decent enough. It came with a >>>>> 'designer chrome stand which we didn't need as our viewing area works best >>>>> with wall fixing (why do most such finish up far too high up the wall, often >>>>> above a mantlepiece?). >>>> >>>>> So arguably we were not just paying for something not required but >>>>> contributing to unnecessary waste of materials and energy. On balance it >>>>> seems to me sensible for manufacturers to price elements of an installation >>>>> separately. >>>> >>>>> Dave Newbitt. >>>> >>>>> -----Original Message----- From: Dave Plowman via Tech1 >>>>> Sent: Saturday, May 29, 2021 6:06 PM >>>>> To: tech1 at tech-ops.co.uk >>>>> Subject: [Tech1] TV set >>>> >>>>> Was looking online at large screen OLED TVs, and discovered the >>>>> 'favourite' at about ?3000, is wall mount only. If you wish to to have it >>>>> on a table etc or freestanding, you have to pay extra for a stand. >>>> >>>>> -- >>>>> Dave Plowman dave at davesound.co.uk London SW 12 >>>> >>>> >>>>> -- >>>>> Tech1 mailing list >>>>> Tech1 at tech-ops.co.uk >>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>>> >>>>> -- >>>>> Tech1 mailing list >>>>> Tech1 at tech-ops.co.uk >>>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>>> -- >>>> Dave Plowman dave at davesound.co.uk London SW 12 >>>> >>>> >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>>> >>>> -- >>>> Tech1 mailing list >>>> Tech1 at tech-ops.co.uk >>>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >>> >>> -- >>> Tech1 mailing list >>> Tech1 at tech-ops.co.uk >>> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk >> >> -- >> Tech1 mailing list >> Tech1 at tech-ops.co.uk >> http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -------------- next part -------------- An HTML attachment was scrubbed... URL: From phider at gmx.com Mon May 31 07:18:00 2021 From: phider at gmx.com (phider) Date: Mon, 31 May 2021 13:18:00 +0100 Subject: [Tech1] Seeing your work Message-ID: <1McH9i-1lFT2j2zRU-00cgNN@mail.gmx.net> On a similar tack, I was the Associate Producer on numerous episodes of the Ruth Rendell Mysteries for TVS television one of which was 'The Speaker of Mandarin'. We filmed in Hong Kong and mainland China. We paid for the traditional Ceremony of the Suckling Pig to prevent any misfortune happening to the production which held true until we arrived back in the UK to find that British Airways had mislaid all our Camera and Sound equipment together with props and costumes. They allowed us to search for them in BA'S Cargo store at Heathrow and after an hour and a half our sound recordist found it under the wrong Airway Bill. Relief.I was on holiday with my wife in Hong Kong many years later and one of the local channels in the hotel was showing said episode. It was dubbed into Mandarin using a deep rich voice for George Baker and a high squeaky high one for his sidekick Chris Ravensworth.? It was very satisfying to see my credit at the end having completed on time and on budget.PeterSent from my Galaxy -------------- next part -------------- An HTML attachment was scrubbed... URL: From davesound at btinternet.com Mon May 31 07:29:51 2021 From: davesound at btinternet.com (Dave Plowman) Date: Mon, 31 May 2021 13:29:51 +0100 Subject: [Tech1] TV set In-Reply-To: References: <593531012adavesound@btinternet.com> Message-ID: <59353d4c75davesound@btinternet.com> In article , Alan Taylor via Tech1 wrote: > If I?m thinking of what you?re thinking, you can buy modular panels > which fit in standard single or double gang mains sockets. You buy a > blank 2 gang panel with pre-made cutouts and then whatever permutation > you need of small, snap-in modules with various A/V connectors on. You can, but they don't match the other sockets etc in the room. I standardised on the TLC Knightsbridge range as being good value and available in the style I wanted. Brushed brass flat plate for this Victorian room. I've also found those modular designs pretty fragile. > The ones sold by CPC are called Euro modules, but they will doubtless > soon be replaced by Great British modules which won?t fit. > However when you say not the same plate, it could also mean that you > have a different decor plate on fixtures in the room, in which case you > are unlikely to find matching A/V panels because most of these > pre-fitted panels come in any colour you want, so long as it?s white. > You can buy plates pre-fitted with quite amazing combinations of > sockets. You can, but of course not using the blank plates I wanted to match everything else. Had the same problem in the kitchen which has 4 lighting circuits. Now LED. Couldn't buy a 4 gang dimmer for LEDs in the style I wanted, so had to make one up. > We?re shortly going to have our kitchen refitted and although we like > the look of some of the stylish switches and sockets, we decided to get > white ones throughout because slightly unusual variants are seldom > available in other styles. I?ve also specified that when back boxes are > installed, they must be 25mm deep, irrespective of what goes in. The > reason being that in the future, I could anticipate adding smart > switches or sockets and some of them need more space behind the wall. > Even when I tried to substitute a dimmer switch in one room, it wouldn?t > fit because the back box was too shallow. Best to fit 35mm. 25mm is too shallow for some fairly common things, especially if you go to metal 'flat' plate. And some dimmers. > Talking of smart homes, does anybody have experience of electrically > operated roller blinds which work with Apple?s HomeKit? IKEA sell some > sensibly priced ones, but their widest one is not quite wide enough for > the main window, while most of the other companies selling such things > want to charge silly money. There must be some middle ground? > Alan Taylor > > On 31 May 2021, at 11:21, Dave Plowman via Tech1 wrote: > > > > #Interesting, Graham. As I said I've been looking online at TV options, and > > not come across this single cable option. Suppose it could be done with > > fibre optics, but of course you're simply moving the problem elsewhere. > > Do you remember what make of TV it was? > > > > My take was to make up custom in/outs on blank socket plates and mount > > them in the skirting alongside the normal mains. Of course you can buy > > such things, but not on the same plates as all the sockets and switches in > > the room. Neutric do a nice range of various connectors in an XLR body > > which makes it quite easy to do, as the same hole cutter works for all. > > Expensive, though. > > > > > > In article <0BE6F7B1-44AF-4311-B0DA-1A9F9558EE3A at icloud.com>, > > Graham Maunder via Tech1 wrote: > >> Interestingly I was at a friend?s new house yesterday and they had just > >> bought a new TV which had 2 points I liked When it is off it displays a > >> work of art as if in a frame but more importantly it has just one very > >> thin cable going to it that carries everything and there is a separate > >> box that has all the ins and outs, power etc. that you can conceal in a > >> cupboard or wherever. First time I?d seen such a thing and thought it > >> was very clever. Also he served Bollinger so I?ll be returning! > > > >> Graham Maunder > > > > -- > > Dave Plowman dave at davesound.co.uk London SW 12 > > > > > > -- > > Tech1 mailing list > > Tech1 at tech-ops.co.uk > > http://tech-ops.co.uk/mailman/listinfo/tech1_tech-ops.co.uk > -- > Tech1 mailing list > T -- Dave Plowman dave at davesound.co.uk London SW 12 From pat.heigham at amps.net Mon May 31 12:50:36 2021 From: pat.heigham at amps.net (patheigham) Date: Mon, 31 May 2021 18:50:36 +0100 Subject: [Tech1] TV set In-Reply-To: References: <002e01d755f3$0f322f40$2d968dc0$@gmail.com> Message-ID: <60b521ec.1c69fb81.e66c.f4f4@mx.google.com> Hi Alan, I discovered Velcro reusable ties ? it?s double-sided, so fastens onto itself. ?6.14 for 5m roll from Amazon. Perfect for cable management. Pat Sent from Mail for Windows 10 From: Alan Taylor via Tech1 Sent: 31 May 2021 09:38 To: tech1 Subject: Re: [Tech1] TV set In our house, we opted for a wall mounted TV, but not a particularly big one. The wall mount is a heavy duty double articulated mount, with a maximum extension of over 500cm from the wall. It?s sited near a corner. The long arms allows us to swing it between two positions. One is for when just the two of us are there, with the TV along one wall, while the other position offsets the TV sideways along the other wall so that it can also be seen by guests sitting at the other end of the room. The articulated arm for the TV claims to have cable management facilities, but either I?m using thicker cables or more cables than anybody else, or else the very neat cable management is only intended for a mains flex and aerial lead, maybe with an HDMI cable too. I had to devise my own way of making all my cables move with the support arms. Alan Taylor -- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -------------- next part -------------- An HTML attachment was scrubbed... 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