Sam Jackson's reply

[LMcD]

Even worse is separating Elgar 1, movts 2 and 3!

My mistake - wrong symphony!

[Retune]

I think the future of radio / streaming is bespoke playlists matched to individual tastes and introduced by whatever presenter you want providing there’s enough archive recording of them to voice recreate.

I think after hearing her Peter and the Wolf narration (which briefly featured on BaL last year), I'd just get Sophia Loren to introduce everything.

[LMcD]

I think after hearing her Peter and the Wolf narration (which briefly featured on BaL last year), I'd just get Sophia Loren to introduce everything.

'Goodness Gracious Me' !

[LMcD]

Excellent selection and better than many an EC.

the day they have Le Marteau on EC the Martians will have landed .

(play on words unintentional)

Seriously it’s only a matter of time before most DJ and disc shows are produced by computer. It’s one of those fiddly complex jobs but I’m not sure it’s that creative.
Much more difficult to replace the producer in a live recording session or live relay or spokem word documentary - there must be some quite complex judgments to make,

I think the future of radio / streaming is bespoke playlists matched to individual tastes and introduced by whatever presenter you want providing there’s enough archive recording of them to voice recreate.

Pierre Boulez was the Artist Of The Week on Essential Classics in September 2014, but I don't know whether any of his own compositions were included.

[Dance Band Spiv]

And to do otherwise would be more expensive. Bear in mind that R3 gets less money than any of the other BBC network radio stations; and that's the BBC's decision, not the controller's. The question for the controller is: Are you batting for the BBC which pays your salary, or for Radio 3, its reputation and its listeners?

If R3 is indeed cash-strapped, then one must question the wisdom of hiring Jools Holland, who I am sure does not come cheap (I have it on fairly good authority that he demands a hefty fee for live appearances and somehow doubt he would reduce this merely for the honour and prestige of appearing on the wireless!) He would have to attract a huge number of new listeners in order to justify the expense and it would be most illuminating to know how R3 quantifies such things; of course, they'll never tell us!!

[french frank]

somehow doubt he would reduce this merely for the honour and prestige of appearing on the wireless!

I've often wondered how R3 attracted already popular big name broadcasters like Katie Derham from ITN/ITV or Aled Jones from CFM and R2. Andy Kershaw certainly made it clear that he considered an R3 programme a step up from R1. It would be a sad reflection if R3 succumbed to the BBC's mania for big personalities who can be relied on to pull in the audiences. That was the exact opposite of the Third/R3 'announcers' who accepted that they played supporting roles to the content. This contrasts with Sam Jackson's view when he writes:

"The human connection between broadcaster and listener is an incredibly special one; we don’t always get it right, of course, and every listener will have their personal favourites, but I’m proud of Radio 3’s presentation team for the way in which they strive to connect with our audience."

Did R3 listeners ever wanted to be 'connected with' them in the past? If they do now it's just that they've become used to what they've been given for years ("Old men forget ...")

He also wrote:

" I would also challenge any notion that the glory days of Radio 3 were when ‘announcers’ simply read scripts prepared for them by producers."

Why would it matter who wrote the script? It's the content that matters (and the tone in which it's delivered).

He would have to attract a huge number of new listeners in order to justify the expense and it would be most illuminating to know how R3 quantifies such things; of course, they'll never tell us!!

Everything the public might want to know comes under the BBC's derogation: they are not obliged to tell us. And if they lose any decision on this they appeal and win.

[Ein Heldenleben]

If R3 is indeed cash-strapped, then one must question the wisdom of hiring Jools Holland, who I am sure does not come cheap (I have it on fairly good authority that he demands a hefty fee for live appearances and somehow doubt he would reduce this merely for the honour and prestige of appearing on the wireless!) He would have to attract a huge number of new listeners in order to justify the expense and it would be most illuminating to know how R3 quantifies such things; of course, they'll never tell us!!

There’s no read across from a live musical performance fee to the fee for presenting a BBC radio or TV programme. When a big name comedian does a stadium performance it’ll be a six figure fee , appearing as a panellist on TV a four figure. They do it on the cheap for profile purposes.

[french frank]

When a big name comedian does a stadium performance it’ll be a six figure fee , appearing as a panellist on TV a four figure. They do it on the cheap for profile purposes.

And their managers make demands about their billing and, if they have a 'show' of their own, what it should be called (usually including the star's name). But what - precisely - are they expected to deliver for the broadcaster?

[Ein Heldenleben]

And their managers make demands about their billing and, if they have a 'show' of their own, what it should be called (usually including the star's name). But what - precisely - are they expected to deliver for the broadcaster?

The idea is they bring in a new audience I guess

[Dance Band Spiv]

I've often wondered how R3 attracted already popular big name broadcasters like Katie Derham from ITN/ITV or Aled Jones from CFM and R2. Andy Kershaw certainly made it clear that he considered an R3 programme a step up from R1. It would be a sad reflection if R3 succumbed to the BBC's mania for big personalities who can be relied on to pull in the audiences. That was the exact opposite of the Third/R3 'announcers' who accepted that they played supporting roles to the content. This contrasts with Sam Jackson's view when he writes:

"The human connection between broadcaster and listener is an incredibly special one; we don’t always get it right, of course, and every listener will have their personal favourites, but I’m proud of Radio 3’s presentation team for the way in which they strive to connect with our audience."

Did R3 listeners ever wanted to be 'connected with' them in the past? If they do now it's just that they've become used to what they've been given for years ("Old men forget ...")

Everything the public might want to know comes under the BBC's derogation: they are not obliged to tell us. And if they lose any decision on this they appeal and win.

Still on the subject of expense: what do all these intrusive trailers cost to produce? are they made 'in house' or is an agency commissioned to create them? and once again, how does this cost equate to new listeners discovering these programmes?

[smittims]

I was told (forgive me if I've been misinformed) that Katie Derham and Clive Myrie came to R3 because they were paid very large sums of our money. If (and I say if) this is so,then their blatant ignorance of classical music suggests we've been 'had'. I don't blame them: no-one should be blamed for not knowing something, but I think R3 could find some well-informed music graduates with similar communication skills for less money. I don't suppose Peter Barker, Patricia Hughes and Cormac Rigby were paid very much, butthey did a much better job. I'd like to know what Sam has to say about that. .

[Ein Heldenleben]

Still on the subject of expense: what do all these intrusive trailers cost to produce? are they made 'in house' or is an agency commissioned to create them? and once again, how does this cost equate to new listeners discovering these programmes?

Virtually nothing I reckon and done in-house or possibly by an indie if it’s trailing one of their programmes. The few words from a presenter are usually recorded in the spare moments of a studio session and edited on a computer in under an hour or two They also don’t pay copyright on any music ( at least in TV ) The problem is they are so cheap they are tempting to run. Some TV trails can cost a lot of money though …

[Ein Heldenleben]

I was told (forgive me if I've been misinformed) that Katie Derham and Clive Myrie came to R3 because they were paid very large sums of our money. If (and I say if) this is so,then their blatant ignorance of classical music suggests we've been 'had'. I don't blame them: no-one should be blamed for not knowing something, but I think R3 could find some well-informed music graduates with similar communication skills for less money. I don't suppose Peter Barker, Patricia Hughes and Cormac Rigby were paid very much, butthey did a much better job. I'd like to know what Sam has to say about that. .

None of them appear on the BBC pay list so under £178,000. The highest paid Radio Presenter is Zoe Ball on £950,000 then BBC Northern Ireland’s Stephen Nolan on £405,000.
Clive’s £310,000 salary is very largely paid by BBC News . I doubt he gets much extra for Radio 3 where he only does the odd show. Outside a few stars working for BBC Radio is not a big money spinner.

[french frank]

Clive’s £310,000 salary is very largely paid by BBC News . I doubt he gets much extra for Radio 3 where he only does the odd show. Outside a few stars working for BBC Radio is not a big money spinner.

What is the attraction to Radio of employing such high profile names? Katie Derham was a news reader (and CFM presenter), Clive Myrie is a news journalist, Aled Jones was a well-known chorister/choirboy/recording artist, CFM .presenter. Clive Myrie's series is at least 50% connected with his news experience, but which came first? How could we use someone like Clive Myrie, or how about a series on how classical music has been important in war zones?

About 4% of the UK population earns over £100,000 ...

[eighthobstruction]

personality v personalities ............and personalities means money - confidence - PR people - managers - agents - flak jackets and social media specialists.....nowt as funny as folk Sam....we are ever so fed up with fingers on ridiculous scales....