Wulfrun Echo – Chris Phipps

Chris Phipps Wufrun Echo PS

 

 

 

 

 

 

 

 

 

 

 

(Copyright resides with the original holder, no reproduction without permission)

‘That photo!  How NOT to dress appropriately for a Quarry Bank chain shop. The man behind me is Sam Bloomer, one of the last hand chain makers -and I still have that interview, along with many others recorded over the 7 years I compiled and presented “Wulfrun Echo” in the Black Country for BBC Radio Birmingham. Many of these interviews have been hailed by Professor Carl Chinn as being as important as the BBC RADIO BALLADS for their verbal depiction of working class life and times – it makes me very proud to have this legacy for my 40 years in broadcasting.  I had spent nearly a decade capturing memories of individuals who had never been in front of a microphone -I then spent 5 years on Channel 4 ‘s “The Tube” capturing  people  who couldn’t wait to get in front of the camera [when they had something to sell, of course] .

The photo was used in a Radio Times article following me out and and about in the patch, likening me to a human whippet. It was written by Booker Prize contender, Jim Crace.  The powder blue jacket? Destroyed by oil spray and soot when I recorded a ride on a traction engine in Wolverhampton – the price of vanity. When it comes to clothes I have never learnt my lesson.’

Chris Phipps

 

‘Chris was the first full time Wolverhampton reporter based in his own studio in the town and among his regular productions was the ‘Wulfrun Echo’, weekly news magazine on Radio Birmingham. He was followed by Mike Henfield and then the late Barry Lankester. I took over for the year of 1984.’

Pete Simpkin

Studio Operations (part 9) – Ray Lee

 

Allowance rate card 1982

Allowance rate card 1982

 

 

 

 

 

 

 

 

 

 

 

 

 

Schedule A and the O.B. Mafia

One of the results of the BBC at one time being part of the Civil Service, was its adoption of a lot of the terms and conditions of service that were current at that time. Things like a generous pension scheme, retirement at 60, good holiday entitlements, and good allowances for people working away from their normal base. Whenever the BBC managers tried to change any of this, the Union would generally put it to dispute and status quo would prevail, such was the power of Unions before Mrs Thatcher, that more often than not things didn’t change much.

My understanding was that Schedule A allowances were convenient for the BBC, as it enabled them to save on the administration of booking people into hotels and arranging transport, for staff manning outside broadcasts. Basically the staff themselves undertook booking Hotels/Guest houses and arranging their own transport to the appropriate venue. In some ways I personally think this was a bit of a cop out by BBC managers, but for the staff involved it could be quite lucrative if they “worked the system”. The net result of this was that those on the O.B. rotation defended their position in staying in this privileged position quite vigorously. Some of the arguments in favour were perfectly valid, e.g. CMCR9 had different cameras to the studio, so those not having been on O.B.s would not be familiar with them. On the other hand it maintained the exclusivity, with no opportunity for engineers not on the rotation to gain that experience. As scanners were tight for space anyway it would be difficult to have a supernumerary engineer to gain experience, and the team needed to work well together as most O.B.s were quite pressured. Thus the exclusive nature earned the team the nick name “Scanner Mafia” or just “Mafia” for short.

some of the 'Scanner Mafia'. Photo by John Abbott, no reproduction without permission

some of the ‘Scanner Mafia’. Photo by John Abbott, no reproduction without permission

 

 

 

 

 

 

 

 

 

 

 

 

I don’t remember who first coined the term, probably either John Kimberly or Mike Lee, but both used it regularly, as did a number of other engineers who were not part of what at face value seemed to be an exclusive club. People did break into it over the years, and I myself had 2 periods working on O.B.s, but the first was not until we were using another scanner equipped with EMI 2001 cameras. My second period was with the then new type 5 scanner with Link cameras shortly before I left operations to join engineering services where I remained for the rest of my career.

Schedule A used properly enabled one to stay in approx 3 star accommodation, and covered costs of reasonable quality restaurants for additional meals. In theory if one overspent slightly in one place, that would be compensated by underspend in another. In practice, many engineers chose to stay in the cheapest accommodation possible, go to cheap burger bars or restaurants, and pocket the not inconsiderable difference as a tax free lump sum. Additionally those living some distance from base, but on the right side for the O.B. engaged in what was colloquially known as a “flyer”. They stayed in their own home, travelled to and from the O.B. site each day, and claimed Schedule A as if they had stayed on location and as a result profited very nicely thank you. It is reckoned that some engineers almost doubled their take home pay in this way. Certainly a strong incentive for the group to maintain the status quo. The management knew it was happening but turned a blind eye as challenging it would almost certainly have triggered a union dispute.

A few years later, it became necessary to submit receipts to show that there had been expenses of the kind that Schedule A allowances were intended to defray. That came in at about the time that I had around 3 months working with O.B.s. Even so without even trying I ended up better off by a good amount. On the whole the Schedule A allowance was quite generous although it has to be said that certain expensive locations would more than use it up. In those cases it was quite often agreed to take actuality payments, although those were strictly receipts only, and any expenses for which there was no receipt (like beer down the local pub), had to be waived. Nevertheless the O.B. crew did very nicely out of it for the most part, to the great envy of those who were working in the studio, and not on the rotation.

Ray Lee

 

The following comment was left on the Pebble Mill Facebook group:

Pete Simpkin: ‘Fascinating the world of OB expenses. I recall in my early days being the engineer for coverage of a three day cricket match.This involved three nights away because I could not drive the vehicle back to base after the whole day duty at the last day of the match. One of the jobs I was required to do there was to tape a half hour ‘audition commentary’ in one of the periods we were not on air with the regular commentators. In those days you had to fill in a recording form which went with the tape and a copy was carbonned for Accounts. I happened to not tick an obscure box marked ‘shared’ on this form so it looked as if I had travelled the 60 miles to the location and stayed three overnights away just for a 30 minute recording! Some weeks later I was hauled up before someone in Accounts as the operation as documented was ‘not very economical’!!’

Trials of Live Radio OBs – Pete Simpkin

PeteI was recalling for somebody else the other day one of my more hysterical broadcasts and thought you might like to hear it too!

I can recall a story involving stereo transmissions, when in the mid ‘80s Radio WM along with several other stations finally ‘went stereo’. To celebrate we broadcast each evening a particular style of music to demonstrate to local musicians the possibilities stereo would bring to their ‘on air’ experiences. …Folk, Country, Asian etc.

My duty turned out to be the below stage concert broadcast announcer for a relay of the City of Birmingham Symphony Orchestra and I spent ages boning up on the works to be played and the musicians involved. I discovered for instance that there was no agreed pronunciation of the conductor’s name Neeme Jerve. Anyway the time arrived for me to announce the arrival on stage of the Leader and the Conductor and in true BBC Proms tradition I had my script marked so that I could physically cue them to walk from their position beside me, below stage and arrive in front of the audience at precisely the moment I said their name on air. The first two worked well but when I got to the name of the solo pianist for the evening, Peter Donohoe, he did not arrive on stage and my announcement of his name was greeted with an unexpected silence from the audience. I put down the microphone and rushed to the steps leading to the stage to discover what mishap had befallen him, at the same time attempting to assemble some words in my mind to explain to the listeners what had happened. I could see that he had got halfway to the stage but had turned back to collect a small canister of muscle spray which pianists keep close at hand and which he had passed by where he had left it at rehearsal at the foot of the steps to the stage. At that moment he reached the stage and the applause resulting gave me the time to get back on air and introduce the music.

At the end of the first half I handed back to Ken Dudeney in the studio for a pre-recorded 20 minute interval feature only to discover to my horror that the said piano soloist had decided to give the audience an impromptu encore which went on for some 6 minutes meaning that not only were the players of the CBSO being denied their interval lubrication but I was faced with an impromptu session of my own as the orchestra had decided to stick to their scheduled 20 minutes sherry consumption. Luckily Ken had a variety of trailers to help fill the gap, but I too had lots of fascinating facts about the second half programme and the history of the Town Hall with which to regale the mystified listeners until the Orchestra got back on stage and the rest of the concert continued without more heart stopping moments!

Pete Simpkin

EMI TR90

 

EMI TR90 PS

Photo by Stuart Blacklock of the BBC EMI TR 90, with trolley

Photo by Stuart Blacklock of the BBC EMI TR 90, with trolley

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Stuart Blacklock of  http://www.vintagerecorders.co.uk/VR_View_Page.asp?IDS=131  no reproduction without permission.

The EMI TR90 was the standard audio tape machine for radio and TV studio and OB use. They usually lived on green trolleys as they were very heavy and were built like battleships. However they were the backbone of all BBC audio recording, editing and replay for many years from the late 1950s up until the 70s when they were beginning to wear out! Most of us learned our trade on these.The wheel like structures at the top of the photo are the tape reel adapters for  using on the big 10 inch reels of tape. Without these gizmos the ordinary 7 inch reels would fit onto the machine.

Pete Simpkin

The following comment was posted on the Pebble Mill Facebook group:

Alan Miller: ‘Certainly takes me back to BBC Glasgow in the 70’s when TR90’s were everywhere. Seem to remember that if the tension arm was not in the correct position that they would fail to play. This could be a bit of an issue in radio continuity where they were operated by remote!’

Studio Operations (part 7) – Ray Lee

Studio Lighting Studio A

Photo of Studio A lighting gantry 1975, by Jim Gregory
Photo of Studio A lighting gantry 1975, by Jim Gregory

 

 

 

 

 

 

 

 

 

 

 

Studio A had a grid of lighting hoists – referred to as barrels – arranged in rows and columns, I think there were 96 in all. Some in the corners of the studio were short ones, but most could accommodate up to 3 luminaires, and were normally equipped with 2 double ended ones, with a soft light on one side and a key light on the other. The lighting hoist could be lowered to floor level to change luminaires, or add extra ones, and it was quite common for additional spotlights, or effects lights to be added to the standard complement of 2 dual source lamps, or even for one or more of the dual source lamps to be substituted by another more suitable lamp. This was all done on the set and light day. Each barrel (apart from the short ones) had 3 lighting circuits each controlled by its own dimmer. There were a number of outlets on the studio wall also controlled by a dimmer for connecting to cyclorama lighting units or floor standing lamps.

The lighting control system was called a Qfile, and was an early system using computer type memory storage based on magnetic core stores. This allowed lighting scenes to be stored both in terms of which lights were on and how bright they were, and facilitated smooth and quick lighting transitions with ease. In the lighting gallery there was a mimic display, laid out in the same way as the lighting barrels, which showed which lights were on in the studio in white, and the next scene (preview lighting) in green. To test the mimic lights one memory (99) was set with all the lamp circuits on, but woe betide you if you ever cut that up to the live scene. The studio would become very bright very briefly, before the circuit breakers in the basement cut the power off. There would then follow about a 20 minute hiatus while the electricians, went through the sequence of going to the basement and of re-setting the circuit breakers. The lighting panel had a set of meters to show how much power was being drawn, and it was expected that the lights would be distributed across the 3 phase supply to keep a balanced load. The circuit breakers were designed to trip if any one phase exceeded 150kW, so in theory the total lighting load could be close to 450kW, which made for a pretty hot studio. Most of the lamps were switchable 2.5 / 5kW, but occasionally 10kW lamps would be used, so it soon added up.

The Qfile operator was drawn from the engineer pool, but because of its specialised nature, was also  one of a small group of people. It was recommended that operators had been on a lighting course, and seen as the first step towards becoming a TM2. Initially Dave White, Peter Wood-fisher, and Ian Dewar, with Mike Lee as a stand in. In the mid 70’s Dave left for Norwich, and Peter moved to VT, Brian Jones then became a regular but Mike had to fill in a lot more. I had a brief time operating it, but was never accepted for a lighting course, and did not really take to it, and would not have coped with some of the fast paced work that the more experienced handled.

The Qfile mimic could be made to display some words in a fairly crude block text. When Playschool was hosted “Little Ted” was the favourite. One had to use your imagination a bit to see the words, but that was the kind of idle exercise that helped brighten some quite long studio days.

Ray Lee

Studio A, All Creatures Great and Small, photo by Tim Savage

Studio A, All Creatures Great and Small, photo by Tim Savage

 

 

 

 

 

 

 

 

 

 

 

 

The following comments were left on the Pebble Mill Facebook group:

Pete Simpkin: ‘What a fascinating Blog. Congratulations Ray from one who’s lighting experience was restricted to news studios where the maximum availabilty was one key and fill per person in vision, a ‘pup’ for head and shoulders to separate them from the cyclorama backing and the odd background shape light shining through cardboard cut out patterns!!’

Peter Poole: ‘I worked as theatre electrician before the BBC. I used a Rank Strand Threeset desk. Every time a lamp blow out it took the fuse. Was it the same at Pebble Mill?’