Pebble Mill Sectional Elevations

D1028 John Madin

 

 

 

 

 

 

 

 

 

 

 

Negative, Sectional Elevations, 1971. This digital resource is available under a Creative Commons CC-BY-SA 3.0 license, with kind permission of the Birmingham & Five Counties Architectural Association Trust, thanks to the Architectus project (part of the Jisc Content Programme 2011-13).

This is a cross-sectional plan of the Pebble Mill building, including the main office block, Radio Studios and TV Studio A. Also shown is the pedestrian bridge to the original foyer entrance, which later became the Pebble Mill at One foyer studio, and the link to the outside broadcast base. This drawing from 1971 came from the architect, John Madin’s offices.

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

Peter Poole: ‘Pebble Mill was great PR for the BBC. Press office often showed various groups round. I was always happy to explain the technical side of broadcasting. The general comments from the groups were very positive. Most of them left very happy to pay the TV licence. The public seems to think commercial TV is free. Every time they go shopping an extra cost is added to the goods to cover advertising. Where is BBC Four TV, radio 3 and radio 4 etc. in commercial broadcasting?’

Andrew Godsall in Dubbing Theatre Record Room

Andrew Godsall on phone 2 PP Andrew Godsall on phone PP

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Photos by Peter Poole, no reproduction without permission.

There are a couple of photos of Andrew Godsall in Pebble Mill, Dubbing Theatre record room in the 1970s. You can see some sep-mag film on the right-handside of the photo. Andrew was an Assistant Recordist at the time, making transfers of location recordings on to 16mm mag for the film editors and assistants to match up with the 16mm film. Andrew can even remember that the telephone extension number was 2048!

Radio Outside Broadcast Rate Card

Radio OB Rate Card pp

 

 

 

 

 

 

 

 

 

 

 

Copyright resides with the original holder, no reproduction without permission.

This Radio Outside Broadcast Rate Card from 1995/6 shows the charges of various radio resources to be charged to programmes. This dates from the John Birt era of Producer Choice, and the sell off of BBC Resources.

Thanks to Peter Poole for sharing the document.

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

Peter Poole: ‘Producer choice generated a lot of paperwork. At the end of the studio session all tapes and batteries etc. used were noted. This was charged to the production. Then the office staff spent time invoicing it. Other effects were that radio studio 1 became too expensive for radio use! Crew sizes were reduced to the minimum. If you needed extra help the production had to pay. They would be charged a minimum 4 hours crew cost. Paying £100 for 30 minutes work was not popular. In the end the floor manager often put the mics on the guests. At a time when Pebble Mill was trying to save money John Birt found many ways to waste it. At great expense all staff were instructed to travel to London for a PR event. This was run by an independent company. This event was about “The New BBC”. I never went to it, but the general opinion was a total waste of time. I did go on a customer care course. This gave me vital information about how to answer the phone. Another course was about marketing. More vital information for resources staff.’

Gordon Astley: ‘I remember it was cheaper to buy albums than hire them from the BBC library. The albums then just went….well..er……??’

Studio Operations (part 10) Conditions of Service – Ray Lee

Conditions of service

A quirk of the conditions of service at that time, was the ability to take overtime as time in lieu, so that if you worked an hour’s overtime which would normally be payable at 1.25 T you could take the 1T as time in lieu, and just be paid the 0.25T.  I made quite extensive use of that option when I was not short of money, as one cannot be taxed on time in lieu, but later with a growing family money became quite important. However I cannot compare to the master of the system Elson Godbolt. As he was part of the O.B. rotation he tended to get a lot more overtime than I did based largely in the studio, and he managed to amass weeks of leave, and around every 2 years, put this together with his annual leave and PHL leave, and took 3 months off during the winter season, on full pay. It was a good job no-one else wanted much leave at that time or it would have broken the system. If all the staff had taken all overtime as time in lieu, there would not have been enough staff to cover all the requirements, as no-one would ever have been working for more than their basic hours in any one year, and the staffing levels were such that some overtime was almost inevitable, especially as some studio sessions would overrun.

Other payments included extra payment if you worked on a public holiday, 2T for working on Christmas day, payments for working over 12 hours, payment for a less than 10 hour break between duties. All of these were intended to discourage scheduling staff for unreasonable duties, but for occasions like Election Night, where staff quite often ended up working though for 24hours at some O.B. sites, they were laughing all the way to the bank!

The engineering staff both in operations unit, and engineering services, were (as far as I am aware) all on irregular hours working conditions, which attracted a 15% lift on basic salary. In some areas many of the staff worked quite regular shift patterns and some even worked days patterns, but to maintain flexibility in moving staff around all were given the same irregular hours conditions. This may have caused some disquiet among some staff they worked alongside who were on normal days conditions and therefore flat rate salary, but I was never aware of it becoming an issue, it was just seen a a quirk of the system. The downside was that non of these extra payments counted towards pensions, so people used to receiving a lot of them, could, on retirement, see quite a cut in their income. From what I have seen since leaving the BBC, pensions have got a whole lot worse!

Ray Lee

Ray Lee

Ray Lee

 

 

 

 

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

Stuart Gandy: ‘Commenting on Ray’s mention of Elson Godbolt, I do remember that in my first weeks at pebble Mill at the start of 1980, I wondered who he was. By the time I had been there a few weeks I had probably met all the ops engineers except Elson. His name being on the rota as showing weeks and weeks of leave. Other allowances I remember back then were the MHW, or meal hour work-through. This was when you could get an extra payment if your meal time was disturbed. Then there was the sssa, soft soul shoe allowance which was meant to pay for footwear for people who had to walk on the studio floor. I think this was the massive sum of £4 when I started, and as far as I know, didn’t increase at all right up until it was abolished. It was quite a time consuming task though, filling in all the forms if you wanted to claim these things.’

Peter Poole: ‘And don’t forget meals over five at base. It was a small allowance with a luncheon voucher.’

Brian Johnson: ‘Wow, Elson Godbolt stirred a memory. Sorry this might be slightly off subject………however……When I transferred from London to my home town of Birmingham as a Technical Assistant in 1969, (pre-P.Mill) I had to do a few weeks in every engineering section. One of those was the film processing area at Gosta Green that dealt with all the News film each day. It was an unusually hot summer and we could not get the processing tanks down to the right temperature. I was being supervised by Elson and we had to buy in lots of ice to put into the huge tanks of developer and fixer to enable us to process the film. Midlands Today (I think it was called that then although I might be wrong) sent a camera crew to film us doing it and it went out on the news programme as part of the item on the unusual heat. We obviously managed to develop it ok!’

Pete Simpkin: ‘Brian as a former worker in News film processing in the BBC I can sympathise…we also had an annual maintenance weekend where we stripped the processor down and cleaned every tank and roller having to get it all up and working again by 9am Monday. Informal arrangements were made to cover any emergencies by having film processed at the local ITV studios should the need arise…it never did!’

Remembering Pebble Mill – David Norris

Remembering Pebble Mill PP

 

 

 

 

 

 

 

Copyright resides with the original holder, no reproduction without permission.

This article, by David Norris, about Pebble Mill appeared in the BBC retirees’ magazine, Prospero, recently.

Thanks to Peter Poole for sharing this article.

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

Keith Brook: ‘Ah, Brothers.

My ‘roll your own’ cigarettes, in brown Rizla papers, featured heavily in the series when Hilary Tindall smoked them in a sophisticated way.
I had to make them fatter to look like imported ciggies. Fair play to the girl, she wasn’t a smoker, but she inhaled my super strong, no filter tip, Old Holborn masterpieces.

The whole series cost me a fortune!!’

Mainly because of the retakes cause by Paddy O’Connell, which required another hastily make one.