Building a Library - General Discussion

[LMcD]

Well he relinquished it this morning....

Don't worry, he's back next Saturday!

[Ein Heldenleben]

Back in the 80's BAL was live and a very tricky proposition with plenty of opportunity for playing in the wrong disc.I wouldn't underestimate the complexity of producing this programme from a technical point of view - it would be quite beyond the capabilities of all but the most experienced presenters (even those with a technical background ) to put together at home let alone freelance reviewers . I also wouldn't underestimate the problems CV is causing broadcasters in terms of staffing and keeping the show on the road .

[Darloboy]

Just seen that BaL in 20 June will be a repeat. So it’s OK for non-essential shops to open but not BaL. Leaving aside the fact that I don’t understand why the programme couldn’t have been prepared remotely throughout the entire lockdown.

[Nick Armstrong]

I have merged the two existing threads on this subject (“a repeat?”/“why no new BAL?”).

[Ein Heldenleben]

Just seen that BaL in 20 June will be a repeat. So it’s OK for non-essential shops to open but not BaL. Leaving aside the fact that I don’t understand why the programme couldn’t have been prepared remotely throughout the entire lockdown.

Because its ( or was 40 years ago ) a very complicated show to put together . Lots of short clips - a big library search , some archive quality which needs correcting by some one who knows what they are doing , wildly varying audio levels and two live voices -in short a bit of a 'mare and when done live full of pitfalls. Also cuing in the clips from a remote voice (though I think Andrew is in the studio ) ... fraught with danger .

[Ein Heldenleben]

I'm minded to compare BAL with Composer of the Week, and the way that is managed. Donald Macleod does a fantastic job week after week, largely solo, and broadcasts for 5 hours a week. Each weekend apparently, he has a parcel of CDs delivered to his house to use for a future programme, and as I understand it, each programme is recorded well in advance. I really do not understand why BAL cannot be operated in a similar way. Perhaps R3 should put Donald in charge of it!!

The answer is that COTW has only a few long pieces in it (generally) whereas BAL has tens of clips taken from different performances of the same work and it's incredibly easy to play the wrong clip. In sum COTW is a technically simpler programme....

[LHC]

Because its ( or was 40 years ago ) a very complicated show to put together . Lots of short clips - a big library search , some archive quality which needs correcting by some one who knows what they are doing , wildly varying audio levels and two live voices -in short a bit of a 'mare and when done live full of pitfalls. Also cuing in the clips from a remote voice (though I think Andrew is in the studio ) ... fraught with danger .

There’s a fairly simple solution to the complexity of balancing two voices; go back to having a single reviewer, as we would all prefer.

[Ein Heldenleben]

There’s a fairly simple solution to the complexity of balancing two voices; go back to having a single reviewer, as we would all prefer.

I don't have any current inside knowledge but I suspect when they took a look at what could feasibly done with minimal staffing levels and a limit on all but essential visitors they decided that BAL , either live or recorded , was too complicated. Ive noticed that they now credit all the studio managers on the live programmes - and they thoroughly deserve the credit . They will be in BH with the presenters , with a few exceptions , remote often broadcasting from whatever room has the least reflective acoustic. If I heard right the producers are often at home producing remotely. All part of an effort to reduce person to person transmission I guess..

[ardcarp]

they decided that BAL , either live or recorded , was too complicated

Nah. Simples. Just the Beeb being unbending.

[DracoM]

Totally agree.
Many could send in recordings of their scripted takes on music with very careful refs to bar numbers on scores for engineers at BH to cue in.
Blimey, if amateurs can do it, why not the pros?

[Ein Heldenleben]

Totally agree.
Many could send in recordings of their scripted takes on music with very careful refs to bar numbers on scores for engineers at BH to cue in.
Blimey, if amateurs can do it, why not the pros?

Having done it I can assure you and Aardcarp it is not simple if you are trying to do it to professional standards . It's very time consuming and I suspect that they are short of technical / production effort and also having to socially distance....but I am only guessing .

[Cockney Sparrow]

There’s a fairly simple solution to the complexity of balancing two voices; go back to having a single reviewer, as we would all prefer.

They won't do that. The ethos of the BBC is that they never apologise, never go back. We won't get single handers - why go through a second round of discontent. We're here to suck it up....

I'm afraid it won't change - the first reported message from the new DG was about reaching out to audiences not currently engaging with the BBC. I'm not expecting the movement to displace serious, educational and informed content - just think of the number of boxes the kind of programmes we yearn for* won't tick in the new world of competing with Classic FM, Netflix, Times Radio (add your next competitor) and saving the BBC - a BBC most of us are unlikely to want. But OTOH, the Johnson Govt is likely to be the most mortal threat to the BBC ever. For sure whilst Cummings - with his contempt for the print media and even more the BBC - remains in control of Johnson.

* Interpretations on Record. Discovering Music. Maybe our only hope is for THe Gramophone to be better supported - surely our next best resource. If they added a bi-weekly podcast in the nature of these programmes, would enough of us pay for it?

I haven't said this before, but a passing acquaintance with links to someone part of the present Rec Review / R3 milieu, in answer to my question, said " you don't think people want to listen to Xxx Xxxxx going on about this recording and that ancient recording of Beethoven 9, do you?". After the departure of said person from RR and R3. To which my answer was - in words to this effect - "yes, very much, and they can keep contributions from whichever shallowly apprised presenter happens to often be found in the corridors or tea point (is there a bar these days?) at Broadcasting house, is flavour of the month or blessed with being a New Generation alumni....(cf tick boxes above).

[Dave2002]

The only reason that I can think of for having to have live comments is if some circumstances change at short notice. For example, if a CD is due for release on a certain date, but the date changes, or some other significant event occurs in music or with musicians. However, with modern technology, even that should be fixable, with suitable hardware, software and a flexible team of workers who know what they're doing.

What might have seemed like "rocket science" 40 years ago, should be simple nowadays.

[Barbirollians]

Anyone know why Hannah French rather than Andrew McGregor presented yesterday's Record Review - I cannot remember him missing an episode before ?

[zola]

Anyone know why Hannah French rather than Andrew McGregor presented yesterday's Record Review - I cannot remember him missing an episode before ?

It was thought the 'strain' of presenting each lunchtime concert from Wigmore Hall during the week was too much of a work load.