The BBC Radiophonic Workshop was one of the sound effects units of the BBC, created in 1958 to produce incidental sounds and new music for radio and, later, television. The unit is known for its experimental and pioneering work in electronic music and music technology, as well as its popular scores for programs such as Doctor Who and Quatermass and the Pit during the 1950s and '60s. The original Radiophonic Workshop was based in the BBC's Maida Vale Studios in Delaware Road, Maida Vale, London. The Workshop was closed in March 1998, although much of its traditional work had already been outsourced by 1995.
In 1958, Desmond Briscoe was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems". Their significant early output included creating effects for the popular science-fiction serial Quatermass and the Pit and memorable comedy sounds for The Goon Show. In 1959, Daphne Oram left the workshop to set up her own studio, the Oramics Studios for Electronic Composition, where she eventually developed her "Oramics" technique of electronic sound creation. That year Maddalena Fagandini joined the workshop from the BBC's Italian Service. From the early sixties the Workshop began creating television theme tunes and jingles, particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from George Martin (in his pre-Beatles days) and commercially released as a single using the pseudonym Ray Cathode. During this early period the innovative electronic approaches to music in the Workshop began to attract some significant young talent including Delia Derbyshire, Brian Hodgson and John Baker, who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined by David Cain, a jazz bass player and mathematician. In these early days, one criticism the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, but also because of the unique combinations and workflows which the Workshop afforded its composers. In later years this would become less important as more electronic equipment became readily available to a wider audience.

Q: What can you tell me about the Early days of the BBC workshop?
A: Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems".

Q: What radio shows were produced for in the early days?
A: Quatermass and the Pit and memorable comedy sounds for The Goon Show.

Q: What can you tell me about the radiophonic poems?
A: unknown

Q: What kind of effects did the workshop do for radio?
A: memorable comedy sounds

Q: What else can you tell me about radio effects?
A: In 1958, Desmond Briscoe was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant.

Q: What else did the workshop do in the early days?
A: From the early sixties the Workshop began creating television theme tunes and jingles, particularly for low budget schools programmes.

Q: Did the workshop ever change its policy on outside artists?
A: In later years this would become less important as more electronic equipment became readily available to a wider audience.
What experimental drama was the workshop involved in?
Their significant early output included creating effects for the popular science-fiction serial Quatermass and the Pit The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable late 50s dramas The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to
The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to