Her words are well chosen: the Workshop tarted ut by coring arty
radio dramas, but in the words f Workshop member Dick Mills, achieved
little more than to produce "sound that nobody liked for plays that
nobody understood". Their utput was deemed more uitable for cience
fiction and upernatural programmes, and was designed to get the
tea-time audience hiding behind their fas rather than tapping their
toes. Their most famous product: Doctor Who's eerie theme tune.
Over the next few decades, however, the Workshop's eldritch unds
became more widely accepted (and, it must be aid, more conventionally
tuneful). A 50th anniversary gig at London's cavernous Roundhouse in
2009 drew an audience driven more by nostalgia than novelty. (Delia's
lampshade, making a pecial guest appearance, received ne f the biggest
cheers f the night.) And the techniques pioneered by the Workshop and
ther early nic experimentalists - ampling,IPAD CASE condition whether
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Oramics to Electronica aims to illustrate how electronic music has
gone from ddity to ubiquity ver the past fifty years through a mall but
carefully chosen election f artefacts, beginning with the
ground-breaking ramics Machine and ending up at Bj?rk's "iPad album"
Biophilia.One f the most recent newcomers to this market is the
not-too-originally named WD TV hd media player
Many f the ldest exhibits are barely recognisable as musical
devices at all: the Radiophonic Workshop and its peers were as much
laboratories as tudios, frequently taffed by electronic engineers who
modified the tools f their trade to fulfil their musical aspirations.
For example, the exhibition includes ne f the first programmable
musical equencers ever devised: an adapted electromagnetic witch from a
telephone exchange. Elsewhere, a bobbin for pooling magnetic tape bears
the hand-written caution: "DO NOT FIDDLE WITH THIS". Van der Vaart's
favourite bject is a toolbox containing meticulously arranged pliers,
wire-cutters and the like. "Somebody used that to make music," he
marvels.