Juliet Deane Recording Session – Peter Poole

Recording copyright resides with Peter Poole, no reproduction without permission.

This recording session was in Studio 3 probably in the late 1970s. This was a drama studio but it was often empty in the evenings. And back then the BBC made it available free of charge for this private recording. At that time I was working for Film Unit as an assistant film recordist. So Roger Seward from Audio Unit booked the studio and supervised the session. Roger is a bit of a legend in the Audio Unit and and great character! He was great teacher and gave me a quick “driving lesson” of the studio. He then left the recording and mixing to me.

Juliet worked in the film unit office and welcomed the chance to record a few songs. We soon got a few other members of Film Unit to back her. They were Eurwyn Jones, piano, Andrew Godsall, drums and Steve Saunderson, guitar. The folk songs were recorded with Steve playing guitar with Juliet’s live vocal. Eurwyn and Andrew recorded the backing tracks for the other songs. On another session Juliet added her vocal to produce the final mix.

This was my first experience of music recording in a professional studio. We all had a very enjoyable time and I learnt a lot about music recording.

Peter Poole

Studio 3 – Kathryn Shuttleworth

Photos from Kathryn Shuttleworth, no reproduction without permission.

We went through a phase of putting signs on the studio doors of the productions that were currently being recorded.

I spent a lot of time in Studio 3. Always busy with The Archers and Radio Drama. Should I mention that I have the door signs at home!

Kathryn Shuttleworth

Hazel Farrington, Radio Birmingham – Pete Simpkin

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

A picture of Hazel Farrington a dear colleague known to so many listeners as the lady answering the telephones on so many of our programmes, who has died after a long illness. She is seen here working with me on my mid morning show in the famous Studio 3 in the 70s. We will all miss a hard working, dedicated and lovely lady.

Pete Simpkin

The Archers Spot Effects – Kathryn Shuttleworth

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

Studio 3 Spot Effects

One of the most famous effects to do!  This all gets very messy but whenever there is a calf being born in Ambridge we reach for the yoghurt, a wet towel and some old tape (we may not record on it these days but it is still of use!). Squelching noises from the yoghurt and the “plop” of a wet towel onto the tape is all it takes to create this masterpiece of an effect! This technique is still used in studio to this day – some things never change!

Kathryn Shuttleworth

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

Peter Poole: ‘I remember recording the Archers in M3 before it all went digital. And the omnibus edit.’

Andy Foley: ‘How we suffer for our art – I once had to violently rip apart a chicken carcass in Studio 3 for someone being garrotted! Not in the Archers I hasten to add! A drama with Timothy West.’

Radio Studio 5

Photos by Philip Morgan, no reproduction without permission.

These photos are of the cubicle in Studio 5, one of the network radio studios at Pebble Mill.  They were taken by Philip on the viewing day before the auction to sell off the equipment from Pebble Mill that wasn’t being taken to the Mailbox.

Kathryn Shuttlecock adds the following information: ‘This was our main GP (General Purpose) studio and was used for most of our Radio 2 specialist music shows as well as plenty of live broadcasts such as Late Night Currie with the dear Edwina. This got a bit hairy in the later days as the desk was really on the way out and many a time an SM could be seen taking bits of the desk to pieces live on air to try and keep the thing running! Emergency calls to London to say we might actually fall of air were not unknown! The last time this studio was used was when we had actually moved to (and were broadcasting from) the Mailbox. I used the desk and the ISDN lines in there to do a live link up to Late Night Currie for Halloween when we had ghost hunters and psychics trying to work out if all the ghostly tales of the Mill were true. I had just enough bits of kit and cables to run from Studio 5 into Studio 3 where we had set up for the evening. By that time Pebble Mill was a spooky place to be regardless of any ghoulish happenings and the ghost hunting team were so fascinated they returned a few weeks later to do a full overnight ghost watch! This was probably the last thing to happen on site before the doors were closed to us for good.’

Steve Peacock adds the following: ‘It was also the studio for many fairly hairy live Farming Todays after the move from London and before we fell victim to a plague of Boyle and started pre-recording. 14 minutes live can be a tricky number for the numerately challenged.’