Basil Brush – What Was Pebble Mill?

Don Pinchbeck

Don, in the centre

Children in Need: Jason (postroom) (left), Marie Phillips (Children in Need Organiser) (centre) next to Don

My dad, Don Pinchbeck, worked at Pebble Mill between 1977-2001 as a Studio Attendant, he absolutely loved working for BBC Pebble Mill, he always had great stories about stars that he’d seen and the lovely people he worked with, unfortunately he passed away on 27 Dec 2015 aged 80, a great dad, husband and grandad, much loved and missed. His funeral will be taking place at St Edwards Church, Selly Park on Wed 20 Jan 2016 at 9.30am.

My dad worked at the BBC from retired in 2001 (though he really didn’t want to) he was always based at Pebble Mill, the shows I know he worked on were:

Pebble Mill at One

Telly Addicts

Basil Brush Show

I can’t remember if he worked on the Clothes Show, I know he worked on a similar show with John Leslie hosting it.

The Alan Titchmarsh show

Maybe Top Gear

Children in Need

He mentioned lots of celebrities over the years, probably when Pebble Mill at One was still on, Barry Manilow, Joan Collins, Roger Moore, the stars from the shows above and lots of others. He received lots of commendations for his hard work over the years which my mom kept. He took me to a few staff kid’s Christmas parties at the BBC, we went to see Basil Brush a few times, we attended an open day they had for the public in the early 90’s I remember which are great and we went in the audience a few times at Children in Need. He was very hard working, dad to 5, grandad to 3, great grandad to 2. He lived in Selly Oak all his life, so he loved working locally and for the Beeb as he called it.

Catherine Pinchbeck

(The show that Catherine mentions, presented by John Leslie, would have been Style Challenge).

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

Les Podraza: ‘I remember Don very well. A great charachter and hard working part of Studio A. Always ready to muck in and help out. So sad he has now departed this world. ‘

Richard Smith: ‘Sad to learn of Don’s death. A lovely, friendly and hard working man, would do anything to help you. Many happy times with him in House Services. In the photos are Jason Edwards, Robert Pash, Alan Evans, Billy Gardner, Frank Barber and Marie Phillips. Condolences to Don’s family.’

Donald Steel: ‘I remember Don very well and with fondness – always the same always cheerful. It was a great gang in those days everybody helped you. So very sorry to hear of his passing.’

Marie Phillips: ‘The group photo was my retirement party in March 1998. Don was not fond of “does”so I was thrilled he and the rest of “my lads” came along. I honestly could not have done so many events for Children in Need without the enthusiasm and often out of hours help given by Don and all of them. He and they were a breed apart and I was forever grateful. Fond memories Don.’

Gill Thompson: ‘I worked with Don looking after the audiences at Pebble Mill, a lovely man and excellent at his job, always smiling and very professional.’

Mary Sanchez: ‘I remember him well from my Pebble Mill days – always really nice and friendly. I also used to see him out and about around Selly Park and we’d wave .’

Basil Brush Front Page

This is the rehearsal script front page for The Basil Brush Show from 1975.

The rehearsals took place in a church hall in west London, whilst the recording would have taken place in Studio A at Pebble Mill. Basil Brush was a London production, hosted at Pebble Mill.

Thanks to sound supervisor, Roger Guest, for sharing the front page, and keeping it safe since 1975.

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

David Crozier: ‘I was that designer. Was it really forty years ago? Good grief.’

Peter Trevena: ‘I worked on this,great fun’

Susan Astle: ‘Really enjoyed working on this. Used to have breakfast on the train with design on the way to rehearsals in London. Charlie Bond on Bloody Mary’s and lovely Ian Fisher and Nigel Jones. ‘

Philip Morgan: ‘Through the kindness of Roger Nash I got a radio interview with “Basil”. I also sat in at one of the Saturday afternoon dress rehearsals in Studio A. As part of the banter the sidekick (Mr Derek?) asked Basil if he had any friends. “Of course I’ve got friends” replied Basil “I’ve got friends I haven’t even used yet!” That certainly drew a hearty laugh from the crew…’

Studio Operations (part 6) – Ray Lee

All Creatures Great and Small, Studio A. Photo by Tim Savage

Saturday Night at the Mill, 1977. Photo by John Burkill

Saturday Night at the Mill, 1977. Pebble Mill courtyard. Photo by John Burkill

The Programmes

Studio A had a lot of drama series, and one off plays, as in those days drama was more often than not recorded in a studio. Exterior shots were done on film for the most part, and played in from TK during the recording session.

One of the early drama series was The Brothers which was a fairly dire soap opera about a set of brothers who owned a lorry transport business. I remember virtually nothing about the series apart from the lovely Lisa Goddard, but it was a regular booking and kept us all in employment. Rather more interesting were the Dickens classics – Martin Chuzzlewit and Nicholas Nickleby. Then there were several series of All Creatures Great and Small adapted from the James Herriot books. The first few with Carol Drinkwater, and the later series with Linda Bellingham, as James’ wife Helen. Then there was Gangsters which was I think the first studio production to use a “handheld” camera. The camera was a Bosch Fernseh, which had a quite large camera on a shoulder pad, connected to a back pack by a short cable, then the cable from the backpack went to a further CCU which was rigged in TAR. The Camera / backpack combination was pretty heavy, so the cameraman tended to put it all down as soon as the required shots had been taken.

There were a number of plays for today, and several series of The Basil Brush Show. The latter was recorded on a Saturday evening with a live audience, but for the afternoon dress rehearsal, several staff members and their children formed and audience so that “Basil” had someone to perform to. My wife and children came on several occasions when I was working in the gallery or TAR.

We hosted Playschool for at least one series, possibly two. This may have been around the time when there was a union dispute regarding who was to start the clock! As I remember, electricians said it should be them as it was electrical, and scene hands said it should be them as it was a prop. I don’t remember how it was resolved, but it was that kind of union silliness that set Margaret Thatcher on her crusade against the unions.

Studio A hosted Young Scientist of the Year at least twice, and also The Great Egg Race with professor Heinz Wolff. There were several series of Angels a kind of forerunner to Casualty. Then there was the great Pot Black which really put snooker onto the map for the first time. This was recorded over four intensive days after Christmas (27th – 30th Dec) and then shown one game per week. The quote of note being “For those of you watching in black and white, the red ball is next to the green ball, just beyond the black” or something like that. The problem was there was little difference in the grey level of red and green balls, so identifying them virtually impossible. It really was a game that had been waiting for colour. There were just so many programmes that came out of Studio A, the place buzzed with activity.

In addition to that there were all the Pebble Mill at One programmes which came from both studio A and studio B gallery, with the cameras in the foyer area or outside both at the back and front of the building, and occasionally on the roof! From the camera rigging point of view it was like an outside broadcast, but with the fixed infrastructure of a proper studio gallery.

In early 1975 a pilot programme Pebble Mill at Night was produced. It eventually materialised as Saturday Night at the Mill but not until 1976. This likewise used the foyer area, and depending on whether Studio A had a drama booked in used either Studio A or Studio B gallery.

Saturday Night at the Mill had the dubious honour of causing 2 of the big windows to be replaced. I think it was the night that a parachute jump landed on the front lawn, and in order to get some additional lighting, the lighting director (TM) had 2 big lights shining through the long gallery windows onto the lawn. The lights were well back from the windows and he checked that the windows were not getting hot. However they would have warmed slightly. That night after the show we had one of the hardest frosts in a long while, and the thermal stress on the windows caused them both to crack (several hours after the lights had been switched off). The replacement of the windows subsequently featured on a Pebble Mill at One, although what may not have been seen was that the new ones were about 3/4 inch too short! The gap was filled with mastic.

Studio B progammes in addition to the regular Midlands Today, hosted the Asian unit New Life programme on Sundays, and Farming, (the forerunner of Countryfile). Pebble Mill at One on any days when Studio A was in use for drama, and several programmes that could be squeezed into the small space, including incredibly some with an audience. Sadly I cannot remember all of them but The Clothes Show certainly started off in Studio B. There was rarely any slack days, and Studio B (or its gallery at least) may well have seen at least 2 and often 3 different programmes during the course of 24 hours! The presentation annex was arranged as a self operated area, and close down was done from there every night, with just a couple of engineers manning the TAR end of things. David Stevens was one of the regulars, and used a series of colour slides for his close down sequence. Sometimes the slides jammed in the slide scanner, resulting in a somewhat curtailed sequence. One of the slide scanners took a pair of slide boxes from which the slides were pushed up into the scanner gate by a metal plunger known as the Sprod. Unfortunately this required consistent slide mounts to work properly, and David’s assorted slides were not quite as regular as required, so sometime it spat out a slide altogether, just leaving a blank white screen. When possible the other slide scanner was used for this as the slides were pre slotted into place in a pair of discs which rotated into the scanner gate. The disadvantage of that being that changing the order of the slides took much longer if they needed to be changed. As there were only the 2 slide scanners, and both studios might need to use slides there was a lot of pressure on the engineers to keep them both in working order.

Ray Lee

John Kimberley blog

OB Scanner CM1 (1980s)

I joined Pebble Mill in 1974 and was a staff Studio and O.B. engineer until we lost the O.B. fleet in 1992, after which I became a freelance engineer. I did do some contract work at the Mill afterwards until 1997, then I became a full freelancer working for Sky, BBC and ITV via various O.B. facilities companies. I retired this year, but if offered an O.B. which appeals to me, I guess I’ll take up the offer! Regional Engineers, as we were known were expected to work in Telecine and Videotape as well and we were trained to work in Communications (‘Comms Centre’ and Radio Links) if required.

During my first few years at the Mill, Studio A was usually working 6 days a week, with 2 sets of 2 day dramas and 2 days of Pebble Mill at One; during the latter there would be a complete scenery and lighting reset for the following production. I worked on the last series of Poldark, various series of All Creatures Great and Small, Angels, Juliet Bravo and countless Plays for Today. Amongst memorable Studio A productions were a series of live dramas for BBC 2 around 1980. We were using the very first colour cameras, EMI 2001s, and the first incarnation of the studio technical facilities. Despite the age of the equipment, all the plays went out without a hitch, and much alcohol was consumed afterwards as we all came down from the adrenaline ‘high’. A great breakthrough came with the inclusion of Light Entertainment programmes in the late ’70s, a welcome change from a constant diet of drama productions. I thoroughly enjoyed the specials with Showaddywaddy, Elky Brookes and Don McLean and have very fond memories of doing Basil Brush shows on Saturdays. Oh, and I nearly forgot Saturday Night at the Mill! In the 80s, drama became a single camera operation, usually on location rather than in the studio. However, the studio seemed to be just as busy doing many other productions like Telly Addicts, The Adventure Game and Young Scientist of the Year. When London decided to kill off Pebble Mill at One, there were many spin off daytime programmes involving D.I.Y., fashion (The Clothes Show), and cooking, mainly done using Gallery C. A house was built in the back quadrangle for some productions! Studio B shouldn’t be remembered as only doing Midlands Today – I worked regularly in there on Farming Today and various programmes for Asian immigrants. There were often innovative ideas for the regional opt-out programmes, some of which went on to be networked – Top Gear being a good example. We even did a rock music show in there, and on one occasion, the sound travelled through the building and was picked up on the microphones in Studio A which was doing a Play For Today at the time.

I worked briefly with CMCR9 during my first ever O.B. stint in 1980, but it was moved to Manchester to become ‘North 3’ during that time, and we had CMCR10 for a few months until our new scanner, CM1 arrived. An O.B. stint then was very varied in programme type. It would include football, rugby, swimming, cycling, snooker, horse racing, cricket, party political conferences, inserts to Pebble Mill at One or to drama productions. After I went freelance, all I seemed to do was football!

I have so many lovely memories of my life at Pebble Mill, and it’s great to see that everyone else remembers it fondly and that we are all keeping in touch. I remember that when I left in 1992 I felt like I had suffered a divorce and a bereavement at the same time and it took a long time for me to come to terms with the fact that I no longer worked there. I must say that I don’t feel that way about retiring now as the industry has changed so much and has completely different principles from those with which I’m familiar. I completely agree with the idea that we saw the Golden Age of Television in the 70s and 80s!

John Kimberley

Philip Morgan’s blog

My first brush with the newly opened BBC Midlands HQ was when my school class were “extras” on the rides at a fairground set up in Cannon Hill Park as part of the 100th edition of the lunchtime Pebble Mill at One programme. It was the 1970’s and I was fascinated by the Outside Broadcast operation mounted just across the road from the gleaming new studio complex. From that day on my heart was set on a career in broadcasting.

When I left school I wrote in to the (then) BBC Radio Birmingham and was invited to go along to look around the station. I remember it well as my visit was on the very same day that the stunt artist famously jumped off the building onto a pile of cardboard boxes in the courtyard for Pebble Mill at One. The visit led to the chance to become a “helper” on the Saturday children’s programme “Radio Brum Club” which was broadcast at 10.00am on Saturday morning before the “Ross and Henry Show” with a repeat at the same time on Sunday. I helped by recording the ROT, editing insert tapes on Studer B62’s, driving the MKII Pye desk in the Studio 2 cubicle and also doing location interviews with a Uher tape machine. Before long I was doing all sorts of fun interviews and features – frequently nabbing guests from Pebble Mill at One or The Basil Brush Show (which was “hosted” in TV Studio A on Saturdays). I did interviews with a very young Lenny Henry at the old Bingley Hall and a ringside knockabout chat with the wrestler Jackie Pallo Jnr. After these items had been on Brum Club I popped them into an envelope and sent them on to the Radio One “Playground” programme (a networked magazine similar to “Brum Club”) which went out on Sunday mornings just before “Junior Choice” (and so ‘pre-inherited’ an audience of many millions of listeners). Sadly I heard nothing more and assumed that my cheeky submission of a little jiffy bag of 5″ tapes and cue sheets had been chucked into a recycling bin at Broadcasting House!

Some months later at a party I met a teacher friend in Birmingham who it turned out had been freelancing for “Playground”. Out of the blue she congratulated me for my interview items – which she revealed had actually been broadcast on “Playground”. She urged me to get in touch with the producer (Don George at BH) as he was trying to trace me so that he could pay my network fees and give me more work. When I got in touch with Don he very kindly invited me to visit the recording of “Playground” one week at Egton House and introduced me to the presenter David Rider. Don had links to BBC Midlands himself as he revealed himself to have been on attachment to the 282 Broad Street radio studios in the 1950’s and he had been one of the SM’s who helped to “kill” Grace Archer (with the SFX of a burning barn anyway!). He kindly arranged with Jock Gallagher (Network Editor Radio at Pebble Mill at that time) that I could join the other network freelance contributors on the fifth floor at Pebble Mill and make regular contributions to the show. This was certainly a very lucky break and led to the chance to offer interviews to “Playground” as well as other programmes such as “The John Dunn Show” on Radio 2.

Network radio was certainly a very different operation to its local counterpart. I couldn’t just wander into an empty studio and ‘self-op’ a feature. Instead I would have to book a studio through the bookings department and someone from the Audio Unit would be on hand to operate the area. One day I needed to record some links for a package that I had produced with the pop star David Soul. When I booked a studio I was surprised that the only area available was Studio 1 where the Midlands Radio Orchestra recorded. Of course I expected that I would record my links in the adjoining “narrator studio” adjacent to the cubicle. However when I turned up in the cubicle at 10.00am with my typewritten script to start the booking the sound supervisor claimed that he had no idea how to patch a mic from the studio into the Type “D” desk and then he indicated that I would have to do my links from “out there” – the 3,000 sq ft floor of the concert studio itself! The studio was completely empty except for a microphone and headphones laid out on a small square table in the centre of the floor and a set of acoustic screens which had been carefully set up on three sides of the table. As I sat alone at that microphone in that massive studio and cleared my throat for the recording I was terrified! I must admit that over the years I’ve come to the conclusion that this was all a jolly jape by the sound supervisor to give me a bit of a baptism by fire…

I used to spend as much time as I could in the radio studios, or helping to edit tapes in the office for other colleagues. My forays around the building included lots of time spent in the Studio “A” observation gallery and in edit suites. Pebble Mill was a marvellous centre in that everyone was friendly and people were always ready to share knowledge if you were keen to ask questions. I knew designers, journalists, film editors, directors, researchers, projectionists, sound supervisors, people from TAR, indeed from all over the building. Because Pebble Mill had all aspects of production under one roof it was a terrific place to learn the nuts and bolts of broadcasting. I soon became friends with people in the film transfer suites who would kindly help me out when they had downtime by letting me copy tapes or grab sound effects and that led to opportunities to do freelance shifts in transfer or the dubbing record room working in areas that very few people in the building knew much about – or even knew existed! It was a perfect combination with my radio work and I spent several years freelancing in both areas.

The Network Radio department always seemed to be thriving under Jock Gallagher and I remember several very happy Christmas lunches where after we had enjoyed lunch in the 7th floor canteen, Jock would lead all the radio folks behind the serving counter and we would serve Christmas lunch to all the catering staff (who obviously numbered many more than those we actually saw behind the servery each day).

Eventually I joined the BBC technical staff elsewhere in the BBC and did the BBC “A” course at Wood Norton. But I will always cherish my teen years spent at Pebble Mill and treasure the wonderful people from so many departments who took me under their wing and so generously shared their expertise and enthusiasm with me.

Pebble Mill in the 70’s was a bustling and innovative production centre and the building – and its equipment – was gleaming and state of the art and the staff shared a real sense of optimism where any creative idea seemed possible. I was therefore a little sad to return for the auction of contents (in November 2004) and to explore the building which by then was on the brink of final closure and looked completely forlorn. Its offices and technical areas were very shabby and of course almost completely devoid of all the wonderful and talented people that I was so used to seeing in the past and which brought the place to life. Nevertheless I decided to photograph as much as possible before the building was lost forever. Pebble Mill was a unique and happy working environment which produced so many fine and memorable programmes in its heyday. I was always proud to have the chance to work there with so many warm and wonderful people. It all seems like only yesterday…

Philip Morgan