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.
As the sixties drew to a close many of the techniques used by the Workshop changed as more electronic music began to be produced by synthesisers. Many of the old members of the Workshop were reluctant to use the new instruments, often because of the limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created. This led to many leaving the workshop making way for a new generation of musicians in the early 1970s including Malcolm Clarke, Paddy Kingsland, Roger Limb and Peter Howell. From the early days of a studio full of tape reels and electronic oscillators, the Workshop now found itself in possession of various synthesisers including the EMS VCS 3 and the EMS Synthi 100 nicknamed the "Delaware" by the members of the Workshop. In 1977, Workshop co-founder Desmond Briscoe retired from organisational duties with Brian Hodgson, returning after a five-year gap away from the Workshop, taking over. By this point the output of the Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name. By the end of the decade the workshop was contributing to over 300 programmes a year from all departments of the BBC and had long since expanded from its early two room setup. Its contributions included material for programmes such as The Body in Question, Blue Peter and Tomorrow's World as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively.

Q: What were some of the first changes made?
A: more electronic music began to be produced by synthesisers.

Q: Did most like using synthesisers?
A: limitations and unreliable nature of many of the early synthesisers but also, for some, because of a dislike of the sounds they created.

Q: Did musicians begin to like snythesisers?
A: This led to many leaving the workshop

Q: Was the workshop in demand most of the time?
A: Workshop was vast with high demand for complete scores for programmes as well as the themes and sound effects for which it had made its name.

Q: Did the workshop make a lot of programs and shows?
A: over 300 programmes a year from all departments of the BBC and had long since expanded from its early two room setup.

Q: Did they produce any well known programming?
A: sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy (
What there other shows that were popular as well?
Body in Question, Blue Peter and Tomorrow's World The Body in Question, Blue Peter and Tomorrow's World popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy The Hitchhiker's Guide to the Galaxy (in both its radio and television forms) by Richard Yeoman-Clark and Paddy Kingsland respectively. as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy
as well as sound effects for popular science fiction programmes Blake's 7 and The Hitchhiker's Guide to the Galaxy