80-581: BBC Radiophonic Music is the first compilation of music released by the BBC Radiophonic Workshop . It featured music by three of the Workshop's most prominent composers, John Baker , David Cain , and Delia Derbyshire . The album was originally released by BBC Radio Enterprises in 1968 to coincide with the Workshop's tenth anniversary and later re-released in 1971 on the BBC Records label. In 2002,
160-492: A Hendrix tribute album featuring contemporary acoustic remakes of Hendrix songs. The project includes contributions from Brandi Carlile , Pearl Jam 's Mike McCready , Jason Mraz , Grace Potter and the Nocturnals , Billy Gibbons , Rafael Saadiq , Heart , and Crosby and Nash . Kramer's activities in 2013 included introducing three Eddie Kramer Signature guitar effects pedals from F-Pedals, with partner Francesco Sondelli at
240-573: A Rich Man ". The two songs were recorded at Olympic Studios , where, in 1967, Kramer engineered albums for the Rolling Stones, Small Faces , Traffic, and Jimi Hendrix. Kramer became a permanent part of Hendrix's creative process, collaborating on the four albums which Hendrix released before his death in 1970. In 1968 Kramer relocated to New York, primarily to continue working with Hendrix. Headquartered first at The Record Plant and later working as an independent producer and engineer, Kramer produced
320-468: A five-song demo as Kiss with Kramer at Electric Lady Studios. Within two months they had a contract with Casablanca Records . By late 1975, Kiss had a reputation for exciting stagecraft but lackluster album sales. They asked Kramer to produce their daring release of a 2-disc live album, Alive! . It subsequently reached gold status, then platinum, and multi-platinum, and generated the group's first hit single, " Rock and Roll All Nite ". This not only buoyed
400-451: A four-song demo that won their first recording contract. He eventually produced Alive! , Alive II , Double Platinum , Rock and Roll Over , Love Gun , Alive III as well as member Ace Frehley 's first solo album, Ace Frehley , which yielded a hit single, " New York Groove ". Also in 1973 he engineered the live Derek and the Dominos album In Concert . Also released in 1973
480-470: A mono- and two-track facility which was acquired in 1965 by Regent Sound, where the Rolling Stones had recorded their first album. Regent then tasked Kramer to help build and run their new four-track studio. The Beatles had recorded " Fixing a Hole " there, later to be featured on their 1967 album Sgt. Pepper's Lonely Hearts Club Band . Kramer engineered two Beatles hit singles which appeared on Magical Mystery Tour —" All You Need Is Love " and " Baby You're
560-637: A multimillion-dollar lawsuit which concluded in 1995, the heirs of Jimi Hendrix won back the rights to his voluminous recordings. Since then, Kramer has served as co-producer of all Hendrix releases. Kramer produced a second Hendrix tribute album in 1995, In From the Storm . Its diverse artists' roster included the London Metropolitan Orchestra, Toots Thielemans , Carlos Santana, Robben Ford , Taj Mahal , Sting , Steve Vai , Buddy Miles , Brian May , and Bootsy Collins . In 1997 he produced Now ,
640-610: A new recording project set for release in Autumn of 2014. This involved collaborations with contemporary electronic musicians, video artists, DJs, remixers, poets, writers and singers. Live appearances in 2013 included Festival Number 6 at Portmeirion, Wales in September and The London Electronic Arts Festival in November. The shows featured archive TV and visuals from many of the TV and film soundtracks that
720-572: A newly opened branch Morrison Hotel Gallery in Del Mar, California. He was filmed and interviewed in 2009 for a BBC documentary about Sir George Martin , producer of all but one of the Beatles' album releases. In that same year he remixed the posthumously-released Band of Gypsys Live at the Fillmore East , along with albums by Jimi Hendrix, Janis Joplin, Santana, and Crosby, Stills and Nash . Waves Audio ,
800-543: A posthumous live release, in 5.1 surround sound . Concerning his remastering work, Kramer told Guitar Player magazine, "I was able to really enhance and improve upon the actual sound, so if the original sound was good I was able to make it even better. I gave it a more full-bodied sound. I was able to improve some of the dynamics. Of course this is made possible by new technologies and equipment." Kramer specifically credited modern monitors, which provide abundant high-end detail, making it clear where various instruments are within
880-667: A previously unreleased live Santana track from Woodstock, in 2007, for the 40th anniversary of Woodstock. In 2008 Kramer mixed tracks for the Jimi Hendrix avatar (a character that a game player can use as an alter ego) Activision 's Guitar Hero . He also engineered and mixed a 2008 album with Joey Santiago and Dave Lovering of the Pixies . Kramer again exhibited photos in 2009, at the Morrison Hotel Gallery in Manhattan, as well as
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#1732848440300960-474: A producer of software for audio engineers, released the Eddie Kramer Collection in 2009, a set of five plug ins for replicating Kramer's studio touch in recording guitar, drums, vocals, bass, and special effects. A 2010 exhibit at San Francisco Art Exchange displayed Kramer's photos of Hendrix and other rock luminaries. In 2010 he also remixed " Cheap Sunglasses ", a re-make of a ZZ Top single by
1040-470: A secretary (Maxine) as well as the composers, proved too much and so they failed. Dick Mills, who had worked on Doctor Who since the very beginning, left in 1993, along with Ray White, Senior Engineer, and his assistant, Ray Riley, with the Maida Vale technical team taking on their role, and engineer Fiona Sleigh smoothing the transition. In 1995, despite being asked to continue, organiser Brian Hodgson left
1120-419: A session going, how to make the artists really get excited about what they're playing." Kramer and his cohorts at Olympic Studios caught a break when the Beatles' customary recording facility at EMI Studios (now Abbey Road Studios ) was unavailable on 11 May 1967, when the Beatles wished to record "Baby, You're a Rich Man". Olympic was frantic to create a strong impression. By good fortune they happened to have
1200-571: A small brass section and a live drummer, performed a large number of their BBC-commissioned musical works including sections of incidental music from The Hitchhikers' Guide to the Galaxy and Doctor Who (including a medley of Mark Ayres's work) as well as some collaborative compositions written specifically for the Roundhouse concert. The live performances were mixed in surround sound and interspersed with musical video montage tributes of deceased members of
1280-556: A sound's pitch), reversed, cut and joined, or processed using reverb or equalisation. The most famous of the Workshop's creations using 'radiophonic' techniques include the Doctor Who theme music, which Delia Derbyshire created using a plucked string, 12 oscillators and a lot of tape manipulation; and the sound of the TARDIS ( the Doctor's time machine ) materialising and dematerialising, which
1360-406: A spot where part of a previously-recorded vocal track kept bleeding through, in which a screaming Robert Plant intones "Woman. You need it!" Instinctively, Kramer added reverb to the passage, just as Jimmy Page had done. They glanced at each other and laughed. Page then said "Leave it in." In June 1973, a group of struggling rock musicians whose previous band, Wicked Lester , had flamed out, cut
1440-399: A theme tune for the upcoming BBC television series Doctor Who . Presented with the task of "realising" Grainer's score, complete with its descriptions of "sweeps", "swoops", "wind clouds" and "wind bubbles", Delia Derbyshire created a piece of electronic music which has become one of television's most recognisable themes. Over the next quarter-century the Workshop contributed greatly to
1520-552: 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. By
1600-456: Is in that league, because his individuality was so strong and his message was so strong and his mastery of his instrument was so complete. He was a maverick. He broke a lot of barriers, musically and in every way." Led Zeppelin II was the first of five albums which Kramer engineered for Led Zeppelin. It was mixed in a two-day marathon session. While working on the track " Whole Lotta Love ", Kramer hit
1680-422: Is working with Digital Theatre Systems (DTS) in the development of Headphone: X, an app which replicates 5.1, 7.1, and 11.1 Surround Sound in any type of headphone. Kramer specifically cites Hendrix's strong individuality, powerful message, and expansion of the sonic vocabulary of electric guitar, including its potentials for controlled feedback and distortion. Kramer recalls Hendrix as extremely disciplined in
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#17328484403001760-589: The Juilliard School , and Dance Theatre of Harlem ), administered by the United Negro College Fund . In 1994 Kramer released a two-part video series, "Adventures in Modern Recording", utilizing interviews with Les Paul , the seminal guitarist as well as pioneer of both electric guitar development and modern recording techniques such as multi-tracking and looping. In the same year Kramer produced
1840-504: The NAMM Show , and also consulting with former Doors guitarist Robby Krieger on a new recording studio. Kramer also worked again with Robert Randolph in recording a "sacred steel" band for a 2013 release called Robert Randolph Presents: The Slide Brothers. 5 March 2013 was the release date of People, Hell and Angels , a collection of 12 songs which Jimi Hendrix had planned for his follow-up to Electric Ladyland, recorded in 1968–69, following
1920-583: The Record Store Day exclusive 6-CD box set Four Albums 1968 - 1978 . BBC Radiophonic Workshop 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 programmes such as Doctor Who and Quatermass and
2000-472: The electronic dance music magazine Mixmag described the Workshop as, "the unsung heroes of British electronica ". Their work has been sampled extensively by contemporary electronic artists. The Doctor Who theme music was provided by the BBC Radiophonic Workshop from 1963 to 1985. From 1986 to the programme's demise the theme was provided by freelance musicians. Between 1980 and 1985
2080-507: The Australian hard rock band Wolfmother , and in conjunction with John McDermott and the Hendrix family's organization, Experience Hendrix, Kramer prepared Valleys of Neptune , an album of previously-unreleased Hendrix performances. Kramer was chosen to be a presenter at the 2011 Grammy Technical Awards . Also in 2011 he recorded preeminent pedal steel blues/gospel guitarist Robert Randolph and
2160-417: 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. In 1963 they were approached by composer Ron Grainer to record
2240-423: The BBC" in November 1963, listing all equipment used in their two workshops, diagrams of several systems, and a number of anecdotes. The Radiophonic Workshop also contributed articles to magazines of its experiments, complete with instructions and wiring diagrams. British psychedelic rock group Pink Floyd made a memorable trip to the workshop in 1967. They had employed tape loops, sound effects, found sounds and
2320-600: The Beatles , David Bowie , the Rolling Stones , Led Zeppelin , Eric Clapton , the Kinks , Kiss , John Mellencamp , GRODD and Carlos Santana , as well as records for other well-known artists in various genres. Kramer's film soundtrack credits include Blue Wild Angel: Live at the Isle of Wight , Festival Express , Jimi Plays Monterey , Jimi Plays Berkeley , Live at the Fillmore East , Mad Dogs and Englishmen , The Pursuit of Happiness , Rainbow Bridge , The Song Remains
2400-605: The Doctor Who Medley and a new composition – Electricity Language and Me (by American poet Peter Adam Salomon), featuring DJ Andrew Weatherall as the narrative voice for this classic piece of Radiophonic sound design. There were a number of radio, online and print interviews done at the time to coincide with the 50th anniversary of Doctor Who. The Workshop's early archive recordings were also reissued on vinyl in November 2013 to accompany this renewed activity. In 2014, "The Radiophonic Workshop" appeared at festivals including End of
2480-637: The Family Band on the album Lickety Split , and Carlos Santana, a guest star on two of the album's tracks, as well as completing further mixes of Hendrix recordings in 5.1 Surround Sound. 2011 also saw the release of three more Kramer plug-ins for Wave, Kramer Master Tape, the Kramer HLS Channel, and the Kramer Pie Compressor. In 2012 he did further sessions with Randolph, and Buddy Guy, and produced and engineered tracks for Acoustic Generations,
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2560-500: The Fillmore , featuring Steve Marriott and Peter Frampton, still Larry Corryell's Barefoot Boy , his first and only album for Flying Dutchman label, and Curtis Mayfield's double album Curtis/Live! , his first release after leaving The Impressions . In 1973 Kramer mixed Led Zeppelin's Houses of the Holy . In the same year he began a lengthy association with Kiss. Earlier he had produced
2640-1012: The Living for Anthrax in 1987, which yielded a Top 10 single in the UK, "I Am the Law". September 1992 saw the publication of a book co-authored by Kramer and John McDermott. Hendrix: Setting the Record Straight was built on Kramer's years of collaboration with Hendrix, augmented by fresh interviews with key musicians and other participants in the meteoric Hendrix career. In 1993 Kramer produced and engineered Stone Free: A Tribute to Jimi Hendrix , featuring tracks by Jeff Beck , Eric Clapton, The Cure , Buddy Guy, classical violinist Nigel Kennedy , Living Colour , jazz guitarist Pat Metheny , hip hop artists P.M. Dawn , Spin Doctors , and others. The album raised $ 750,000 for music and dance scholarships ( Berklee College of Music ,
2720-614: The Pit during the 1950s and 1960s. 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. Its members included Daphne Oram , Delia Derbyshire , David Cain , John Baker , Paddy Kingsland , Glynis Jones , Maddalena Fagandini , Richard Yeoman-Clark and Elizabeth Parker ,
2800-688: The Radiophonic Workshop contributed to between 1958 and 1998 when the unit was deactivated. The Radiophonic Workshop appeared on BBC television's The One Show on 20 November 2013 playing a unique version of the Doctor Who Theme that combined Delia Derbyshire's original source tapes and Peter Howell's 1980 realisation of the Ron Grainer composition. Radio 6 Music's Marc Riley played host to a Radiophonic Workshop session where they delivered live versions of Roger Limb's Incubus, Paddy Kingsland's Vespucci,
2880-536: The Radiophonic Workshop with Desmond Briscoe, who 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
2960-454: The Radiophonic Workshop, was broadcast on BBC Four . The Magnetic Fields titled the first track of their album Holiday , after the BBC Radiophonic Workshop. In May 2009, Dick Mills reunited with former BBC Radiophonic Workshop composers Roger Limb , Paddy Kingsland and Peter Howell with archivist Mark Ayres for a live concert at The Roundhouse , Chalk Farm, London, performing as "The Radiophonic Workshop". The composers, backed by
3040-478: The Road Festival , and the reissue programme of earlier work from their extensive catalogue continues along with a planned exploration of previously unheard or rare archive recordings. In September 2012 Arts Council England and the BBC announced a joint venture whereby the concept of the Radiophonic Workshop would be revived as an online venture, with seven new, non-original composers and musicians. The new Workshop
3120-669: The Same , and Woodstock: Music from the Original Soundtrack and More . Kramer was interviewed extensively in Jimi Hendrix: Hear My Train a Comin' , a two-hour American Masters documentary which debuted in November 2013. He is also a photographer who has exhibited a number of his intimate images of performers, particularly Hendrix, with whom he worked on Are You Experienced , Axis: Bold as Love , Electric Ladyland , Band of Gypsys , and The Cry of Love , as well as
3200-577: The Soho Record Centre, the preeminent London record store chain of the day. Kramer got his first industry job in 1962 at Advision Studios . A year later he was hired by Pye Studios , where he assisted on mobile recordings of classical works. He also assisted on Pye Studios recordings by the Kinks, the Searchers , the Undertakers , Petula Clark , and Sammy Davis Jr. In 1964 he founded KPS Studios,
3280-609: The Spin Doctors' single for Woodstock '94 , as well as Buddy Guy's Slippin' In the 1995 Grammy winner for Best Blues Album and winner of the W.C. Handy Award for Album of the Year in 1996. Buddy Guy and the Saturday Nite Live Band with G.E. Smith, also produced by Kramer, was a 1996 Grammy nominee. At the time of his death, Jimi Hendrix had a considerable backlog of material recorded in anticipation of future album releases. In
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3360-466: The Workshop including Daphne Oram , Delia Derbyshire and John Baker . The two and a half-hour event climaxed with live performances of the Derbyshire and Peter Howell arrangements of Doctor Who , segueing into a new Radiophonic version of the theme tune. Celebrated attendees included actor/writer/composer Peter Serafinowicz and satirist/writer/broadcaster Victor Lewis-Smith . Multiple cameras recorded
3440-413: The Workshop, and his role was carried out remotely from Broadcasting House by people with other priorities and little enthusiasm. Malcolm Clarke and Roger Limb left. By the end, only one composer, Elizabeth Parker , remained. The Workshop officially closed in March 1998, but Elizabeth stayed on for a couple of months to complete her last job. John Hunt, (who took over much of the specialist editing side of
3520-438: 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
3600-568: The biggest-selling album of 1976, a 2-disc release that sold over 14 million units. In the same year he mixed Bad Company's third album, Run with the Pack . Kramer produced Buddy Guy , classical guitarist John Williams , award-winning country group the Kentucky Headhunters , hard rock and metal bands such as Whitesnake , Icon , Pretty Maids , Fastway , Alcatrazz featuring Steve Vai and Graham Bonnet , and Anthrax . He produced Among
3680-630: The breakup of the Jimi Hendrix Experience. The backing musicians include Buddy Miles and Billy Cox, later to become Hendrix's Band of Gypsies, and Stephen Stills on bass. " Somewhere ", a single released from the album, reached Number One on the Billboard Hot Singles Sales Chart. November 2013 saw the release of the Hendrix documentary Hear My Train A Comin', and another Hendrix live album, Miami Pop Festival. Continuing his involvement with cutting-edge technologies, Kramer
3760-622: The compilation was remastered by Mark Ayres , and re-released with two bonus Derbyshire songs; the original composition "Time to Go" and her version of " Happy Birthday ". For the 2003 release of Music from the BBC Radiophonic Workshop , the 2002 remasters of this compilation were combined with Ayres' 2002 remasters of the 1975 compilation The Radiophonic Workshop , and the entire set was resequenced. The music on BBC Radiophonic Music varied between incidental music and signature tunes, which had been used by various BBC programmes, as well as some radio jingles . The selection demonstrated many of
3840-472: The complete incidental scores for the programme were provided in-house by the Workshop. Below is a complete list of incidental music provided by the Radiophonic Workshop for the programme. Eddie Kramer Edwin H. Kramer (born 19 April 1942) is a South African-born recording producer and engineer. He has collaborated with several artists now in the Rock and Roll Hall of Fame , including Jimi Hendrix ,
3920-548: The dramatic output of the BBC Third Programme . Often the sounds required for the atmosphere that programme makers wished to create were unavailable or non-existent through traditional sources and so some, such as the musically trained Oram, would look to new techniques to produce effects and music for their pieces. Much of this interest drew them to musique concrète and tape manipulation techniques, since using these methods could allow them to create soundscapes suitable for
4000-399: The early 1990s, BBC Director General John Birt decided that departments were to charge each other and bid against each other for services and to close those that couldn't make enough revenue to cover their costs. In 1991 the Workshop was given five years in which to break even but the cost of keeping the department, which required two dedicated engineers, a software developer (Tony Morton) and
4080-438: The event but it has yet to be broadcast or released in any form, although amateur footage of the event can be seen on YouTube. In 2013 the original members of the Workshop regrouped again for a more concerted programme of live appearances. Performing as 'The Radiophonic Workshop' (dropping the BBC prefix) they were joined by drummer Kieron Pepper (The Prodigy, Dead Kids, OutPatient) and Bob Earland from Clor. They also embarked on
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#17328484403004160-426: 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
4240-785: The film, Woodstock , and the three-disc album Woodstock: Music from the Original Soundtrack and More . Kramer began the second decade of his career working alongside architect John Storyk to oversee creation of Jimi Hendrix's state-of-the-art studio, Electric Lady Studios , built and equipped for a then-astonishing $ 1 million. He served as Director of Engineering there from 1970 to 1974, producing Carly Simon's debut solo album, Carly Simon , as well as albums for Sha Na Na and Peter Frampton, and also engineering albums for Lena Horne, Dionne Warwick, and David Bowie, David Live and Young Americans . (The latter featured rhythm guitar from John Lennon on its Number One hit, " Fame ".) In 1971 he mixed Humble Pie's double album Performance Rockin'
4320-426: The first Johnny Winter album and engineered a sequence of five Led Zeppelin albums, beginning with Led Zeppelin II . Kramer and his crew engineered the sound at the 1969 Woodstock Festival ; they recorded the entire festival in a harried, sleepless, three-day binge. It required vitamin B shots for stamina, and was interspersed with brilliant performances from several of rock's then-reigning acts, as documented in both
4400-421: The group's former manager and producer. Beggars Banquet re-asserted the group's R&B roots. According to Kramer, Miller did much to position the Rolling Stones for the longevity which they have since enjoyed: "He went to the heart and soul of where they came from; he was so adept at evoking the psyche of the band, and so clever at production. I've always tried to model myself after Jimmy in terms of how to get
4480-547: The group, it probably staved off a bankruptcy filing by their struggling label, and Kramer produced five more albums for the band that went platinum. Kramer was assistant engineer on Between the Buttons , Flowers , and Their Satanic Majesties Request . The work which he and producer Jimmy Miller had done with Traffic moved the Stones to book the pair for Beggars Banquet , their first album recorded without Andrew Loog Oldham ,
4560-466: The growing range of unconventional programming. When the BBC noticed the rising popularity of this method they established a Radiophonic Effects Committee, setting up the Workshop in rooms 13 & 14 of the BBC's Maida Vale studios with a budget of £2,000. The Workshop contributed articles on their findings to magazines, leading to some of their techniques being borrowed by sixties producers and engineers such as Eddie Kramer . In 1957, Daphne Oram set up
4640-449: 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
4720-418: The last to leave. The Workshop was set up to satisfy the growing demand in the late 1950s for "radiophonic" sounds from a group of producers and studio managers at the BBC , including Desmond Briscoe , Daphne Oram , Donald McWhinnie , and Frederick Bradnum . For some time there had been much interest in producing innovative music and sounds to go with the pioneering programming of the era, in particular
4800-408: The methods used by the composers at the Radiophonic Workshop, including musique concrète tape editing and their use of primitive early electronic oscillators . It featured mostly original compositions, except for Baker's arrangements of the traditional "Boys and Girls" and "The Frogs Wooing", and Derbyshire's version of Johann Sebastian Bach 's " Air ". It was reissued on 29 August 2020 as part of
4880-495: The music soundtrack for the rock music documentary film Festival Express , featuring the Grateful Dead, Janis Joplin, The Band, Buddy Guy, Flying Burrito Brothers, and others. In 2004, Kramer had several Hendrix-related projects, including helping DigiTech design and create an effects pedal which emulates characteristically Hendrixian guitar sounds. He also remastered Hendrix albums for Classic Vinyl , and remixed Woodstock,
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#17328484403004960-584: The piano. That instrument remained his first love, but he also dabbled with the violin and the cello. He studied classical piano at the South African College of Music . During these studies he became fascinated with jazz and rock, much to his father's chagrin. Kramer moved to London at age 19, some six months after his parents' relocating there. There he recorded jazz groups in a home studio with primitive recording equipment, installed hi-fi equipment in antique furniture, and installed album playback systems for
5040-471: The posthumous Valleys of Neptune , People, Hell and Angels , Miami Pop Festival , and other releases produced through Experience Hendrix, the organization formed by Hendrix's heirs. Kramer was born in Cape Town to art and music-loving parents Sonny and Minna Kramer, active opponents of apartheid who moved from South Africa to London in the early 1960s for political reasons. At age four he began studying
5120-477: The principles of musique concrete on their debut album The Piper at the Gates of Dawn from that same year. Other fans of the Radiophonic Workshop included The Rolling Stones ' Brian Jones – who visited in 1968 – and Roger Mayer , who supplied guitar pedals to Jeff Beck , Jimmy Page and Jimi Hendrix . Phil Manzanera has also cited the Workshop as an influence on the sound of his group Roxy Music . In 1997
5200-528: The programme providing its vast range of unusual sound-effects, from the TARDIS dematerialisation to the Sonic screwdriver , as well as much of the programme's distinctive electronic incidental music , including every score from 1980 to 1985. In 2018 Matthew Herbert , creative director of The New Radiophonic Workshop, composed the sting used alongside the reveal of the new Doctor Who logo debuting later that year. As
5280-409: 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
5360-851: The stereo image. In 2005 Kramer reunited with architect John Storyk to design Anacapa Studios in Malibu, California. In the same year, Kramer remastered the Woodstock video footage of Jimi Hendrix for DVD release, revealing a fuller perspective of the guitarist's performance. Again working with Digitech, Kramer helped design and create a Brian May guitar effects pedal in 2006. Also that year, galleries in Santa Monica, California, Hollywood, and Rotterdam exhibited Kramer's photographs of rock stars performing, recording, and in candid moments. Gallery photographic exhibitions in 2007 included Santa Fe, New Mexico and Beverly Hills, California. Kramer also remixed " Evil Ways ",
5440-490: The studio, with his objectives thoroughly pre-planned. To some extent this was a result of working with results-oriented manager and early producer Chas Chandler , who brought Hendrix to England in September 1966, where he established his fame before returning to the United States. Hendrix envisioned the tonal spectrum as a palette of colors, often instructing Kramer with color-based commands. "Make it sound green," for example,
5520-407: The third Paul Rogers studio album. He won a 1999 Grammy award for his audio production on the video for Jimi Hendrix's live album Band of Gypsys . Kramer collected another Grammy in 2002 for engineering a single entitled " The Game of Love ", with Carlos Santana and vocal by Michelle Branch . The track also won a Grammy for Best Pop Collaboration with Vocals. In 2003, Kramer mixed and produced
5600-408: The website – from theater performances to poetry readings, creating a "curious murmur of activity". It can be heard by clicking on a button labeled "listen to The Space" at the top of any page on the website. The New Radiophonic Workshop , not to be confused with the reactivated Radiophonic Workshop whose members are original BBC personnel, an entirely separate entity from the original unit,
5680-500: 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
5760-483: The workshop previously done by Dick Mills) continued working in Studio E, now called "Radiophonics" until well into 2000, occasionally managing to fit in a bit of traditional Radiophonics work. Mark Ayres recalls the Workshop's tape archive being collected on 1 April, exactly 40 years after the department had opened. Following the decision to close the Radiophonic Workshop, the studios were cleared and most remaining equipment
5840-468: 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
5920-462: Was assembled by Mathew Herbert as an online collective of composers for The Space arts project. The techniques initially used by the Radiophonic Workshop were closely related to those used in musique concrète ; new sounds for programmes were created by using recordings of everyday sounds such as voices, bells or gravel as raw material for "radiophonic" manipulations. In these manipulations, audio tape could be played back at different speeds (altering
6000-456: Was based online at The Space , a joint venture between the BBC and Arts Council England . Composer Matthew Herbert was appointed the new Creative Director, and worked alongside Micachu , Yann Seznec, Max de Wardener , Patrick Bergel, James Mather, theatre director Lyndsey Turner and broadcast technologist Tony Churnside. Composer Matthew Herbert's first work for The New Radiophonic Workshop takes audio from 25 previous projects featured on
6080-407: Was created by Brian Hodgson running his keys along the rusty bass strings of a broken piano, with the recording slowed down to make an even lower sound. Much of the equipment used by the Workshop in the earlier years of its operation in the late 1950s was semi-professional and was passed down from other departments, though two giant professional tape-recorders made an early centrepiece. Reverberation
6160-553: Was disposed of, with some of it being sold to the composers. The tape library was largely forgotten until the room was ordered to be "cleared". Fortunately the Maida Vale studios technical team became aware of this and were able to hide the tapes away in various dark corners of the building before they could be thrown away. Eventually Mark Ayres and Brian Hodgson were commissioned to catalogue its extensive library of recordings with help from other composers. In October 2003, Alchemists of Sound , an hour-long television documentary about
6240-400: Was obtained using an echo chamber , a basement room with bare painted walls empty except for loudspeakers and microphones. Due to the considerable technical challenges faced by the Workshop and BBC traditions, staff initially worked in pairs with one person assigned to the technical aspects of the work and the other to the artistic direction. The Radiophonic Workshop published "Radiophonics in
6320-407: Was satisfied by adding reverb. "Jimi utilized the studio as a rehearsal space, thank God he did." Kramer described Hendrix as "very sharp, very focused, very funny, very shy, totally dedicated to his music and his art. He was such a complete human being with such far-reaching intellect." Kramer places Hendrix among Charlie Parker , Miles Davis , John Coltrane , and Louis Armstrong . "He really
6400-406: Was the debut album by Jobriath . The following year saw the release of Jobriath's sophomore (and final) album, Creatures Of The Street , also co-produced by Kramer. Kramer left Electric Lady Studios in 1975. Working independently, he engineered the Rolling Stones' Love You Live , Led Zeppelin's Physical Graffiti and The Song Remains the Same , and Peter Frampton's Frampton Comes Alive! ,
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