Here’s some very good news from the UK: pioneering electronic music composer, sound designer, BBC Radiophonic  virtuosa and Doctor Who theme creator Delia Derbyshire left us more recordings than previously thought. Some 267 tracks of music and documentation were found in her attic. The Radiophonic Workshop’s Mark Ayres – who has been single-handedly leading the charge to make sure the Workshop’s place in history is safe – had been preserving them. But now this archive will be a “living archive,” meaning, at last, we should get to hear them and new music will be commissioned for the archive from musicians and Workshop vets.

Among the treasures found in the archive is a short track of what could easily pass for an IDM cut released last year – except it was produced by Derbyshire in the late 60s, using far more primitive equipment, at a time when nothing sounded like that. When Paul Hartnoll of Orbital tells the BBC “This could be coming out next week on Warp Records,” he’s not exaagerating. Sci fi fanboyhood aside, I still think the endurance of the Doctor Who theme is partly because nothing sounds like it even today.

And there’s more – Hamlet sound design, original compositions, her signature bell tones. Even saying it’s forward looking isn’t really adequate. Other Derbyshire sounds, with their wailing electronic instruments and wooshes of synthesized noise, sound as though they were unearthed from some ancient era of electronica. Blue Veils and Golden Sands, a documentary about the Sahara, could pass for the music the aliens played on their spaceship hi-fis when they visited Earth and told people how to build the pyramids. (I’m kidding, but you get the point.)

I’m working on finding out what the plans are for the full archive as they evolve.

Lost tapes of the Dr Who composer [BBC News, via Radio 4’s Nigel Wrench]

Thanks to Ben Rogerson from MusicRadar for pointing to this first and sending it my way, and to Jim Warrier for the tip.

  • Michael Una

    Whoa, that IDM track is incredible. She anticipates the timbre of Aphex Twin tracks nearly perfectly.

    If Richard D. James had a patent on his style, it would now be invalidated.

  • badburt

    Richard D James is just one, of the many, of Delia Derbyshire fans and justifiably so. She, and many of her peers, were literally way ahead of their time, when most musicians would be disgusted at the very notion of machines making music.

    Without her contribution to Dr Who, the theme tune of that programme would have been very different indeed. As it was she changed things forever, contributing a striking composition that set the tone for the entire show, i.e. mysterious and futuristic. Unfortunately by returning to the orchestrated theme tune for the recent remake of Dr Who the makers of the programme have displayed their ignorance of its history and besmirked Delia's already largely unrecognised contribution.

    For fans of Delia's work the discovery of these tapes is fantastic news, let's hope they make them available for us to listen to in some form.

  • LOST TAPES OF Delia Derbyshire on a Friday morning!??! who could ask for anything more

  • Now if only they could find more than three or four photographs of her, we'd be all set! 😉

  • Eoin Rossney

    Speaking of Aphex Twin, didn't he release a compilation of Radiophonic Workshop stuff on Rephlex? I remember searching for it & turning up nothing – I've a feeling it only appeared on vinyl… that Richard, he so crazy!

  • Eoin Rossney

    Keith, I rather like the impression of her used for the cover of this (out of print vinyl) release – there's a hi-res version linked. It's a nice calming image.

  • gwenhwyfaer

    I just wish they'd made it available as an MP3 or Vorbis file, so that I could actually hear it… 🙁

  • How typical women and blackmen never get the real credit for the work!

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  • She should get sainted.

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  • finnek

    damn, she invented minimal!

  • Captain Howdy

    I think it's a hoax. It sounds cleaner than the other tracks that were supposedly discovered along with it.

  • @Howdy: the sources of this story are very reputable; they're the folks who worked at the BBC Radiophonic Workshop and have been preserving its history. It's not a hoax. It's perfectly natural that the tapes found would be in varying conditions — or that a tape this age would be reasonably clean. And it's consistent with her other work.

    So, yes, she invented minimal. 😉

  • I get the straaaange feeling that somebody in… hmmm… LONDON!… did a Google search, just today, for "pictures of Delia Derbyshire".

    But… how would I KNOW this?? Am I OMNISCIENT?? Do I have root access to those unknowable servers that EVEN THE GOVERNMENT OF THE UNITED STATES were unable to get their hands on?

    Nah, it was Google Analytics. Good parlor trick, though, eh?

  • Captain Howdy

    @ Peter: I realize that the BBC is considered a reputable news source, but they are relying on the honesty of whoever it was that found the "lost" tapes. That part of the story wasn't quite clear.

    I'm a big fan of Derbyshire, and do consider her to be one of the major pioneers of electronic music and sound design, but that excerpt just sounds way to contemporary. Especially, the drum and high hat sounds, which I can't really think of any other examples of those sorts of sounds being used from that period. The rhythm programming also sounds much different then the work being done by her contemporaries, such as Raymond Scott and Perrey-Kingsley.

  • gwenhwyfaet

    According to the BBC story, they haven't been "found"; they were presumably retrieved from her attic as her affairs were put in order, back in 2001, and left with Mark Ayres (the official Radiophonic Workshop archivist, who is presumably above suspicion) until last March. What's unclear from the story is where they've been between then and now, although the implication is that they've been with David Butler – presumably also above suspicion.

    They could still be forged, of course – but what's conspicuously lacking there is a motive. As you point out, Delia Derbyshire's posthumous reputation could really not be elevated any further – there's already ample (reliable, contemporary) evidence of how ahead of her time she was. It's also interesting that you refer to "rhythm programming"; the only programming she, or anyone else, would have done in 1999 is the stitching together of a tape loop. Your suggestion that it doesn't sound like anything else of its time could also explain why she didn't bother developing it any further, even labelling it "for interest only".

    (I suppose one possible motive might be to generate interest in, and potentially funding for, the proposed "living archive"; but forging parts of it would thoroughly defeat the purpose, should it ever come to light – it seems to be too high risk a strategy, particularly given the interest in whatever legitimate material might have been unearthed. Reputation would be the only real claim of such an archive.)

    Ultimately, without forensic analysis of the tapes in question, it's impossible to do any more than speculate; we only have the balance of probabilities to fall back on, together with the reputations of the people involved in their disclosure. But I, for one, would be really rather surprised should a forgery ever be discovered.

  • gwenhwyfaer

    (Typical. Carefully correct all the typos in my post, only to discover that I've misspelled my own pseudonym. D'oh!)

  • Captain Howdy

    gwenhwyfaer wrote: They could still be forged, of course – but what’s conspicuously lacking there is a motive.

    Well, there's certainly been quite a stir created with this story. I think that people that have never even heard of her, are now becoming aware of her work. Creating wider awareness, for the Delia Derbyshire/Radiophonic Workshop brand, certainly has to have some value. I would imagine that with this amount of new material being discovered, we can probably expect a CD box set to be released sometime soon.

    It could have also just been a practical joke by someone else, a student perhaps, that had access to the material.

    And ultimately, it could just be an honest mistake.

    The more I listen to the clip, the more that I'm convinced that it's either a hoax, or a mistake of some sort. Like I said, the drums sounds, and programming, are like nothing that can compare to the music of her contemporaries or anything in her own body of work. I have a fairly large collection of her recordings and it just doesn't sound, in the least bit, like anything that she's ever done.

    I'll be quite interested to see how this story evolves.

  • JavaJ

    In my opinion, it doesn't sound "current" at all. If you listen to it- you can feel the rhythm of various parts going back and forth from perfect syn- more analogue-like. I can easily believe that she created it during that time period- and just didn't think anything of it.

  • David

    Hi everybody – hope you don't mind me chipping in but I just wanted to reassure you all and Captain Howdy in particular that the rhythm track heard on the PM show is definitely not a hoax, mistake or practical joke!

    As gwenhwyfaer said, it wouldn't be in our interests at all to put out a hoax – it wouldn't do Delia's legacy or reputation any favours and would ruin ours.

    Captain Howdy is right though to point out that the quality of the recording is cleaner than the majority of the tapes in the archive – but it's not alone in sounding that bright – there is another track in the archive – a 3 and a half minute pop instrumental called 'Ron Grainer's Bread' that has a similar brightness and also makes use of a drum machine (and synthesizer) for that matter – we're trying to work out what this piece was actually used for! We do know that Delia worked on a Ron Grainer musical in the late 1960s so that's a possibility but there's still a lot of detective work to be done and cross-referencing with other archives.

    We were stunned when we heard the rhythm track that you've all heard on the BBC site – I'm still knocked out by it! The track in question is from a 10.5" reel that runs for just over 15 minutes – the only identification on the reel is a label that says 'NOAH's dance – basic rh."

    This label was a great help to us – and many of the reels lack labels so we have much to do to confirm the identity of everything in the archive (and some reels may well remain mysteries).

    In the case of the 'Noah's Dance' track we have got some leads to follow up on – there was a BBC production that the Radiophonic Workshop contributed to that links in with the reel's title (this is where we'll need to cross-reference with the larger archive of the RW, which Mark Ayres has done outstanding work on).

    But there's another source too – as some of you will know – Peter Zinovieff's EMS company put out a promotional LP in 1971 and one of the tracks listed on said LP is 'Dance from Noah', which – without jumping to conclusions – we're assuming is likely to be the same thing – if anybody has a copy of that LP to hand then please do check and let me know as that's next on our trail!

    There are three reels in the archive which contain elements that form 'Dance from Noah' – and the reel mentioned above contains all the makeup elements so that you can hear them in isolation.

    This is where the rhythm track really stands out – when you hear the whole piece in its finished form with the synthesized melody line and various effects, the rhythm is far less striking as it's buried further down in the mix so on first listening it's easy not to pick up on it.

    But on the makeup tape, after the isolated melody line – and one or two false starts – there's nearly nine minutes of the rhythm alone, with one interruption about halfway through – and hearing that track sustained for 9 minutes is when it really hits home.

    Captain Howdy is right again to point out that this track sounds so different to Delia's known output or that of her contemporaries at the time – but it's also worth remembering that – not least following their collaboration as Unit Delta Plus – she did have access to Zinovieff's fledgling synthesizer the VCS3 and other electronic textures – and much of what we know of her output is limited to a relatively small body of work – but she was active in all kinds of contexts throughout the 1960s and there are several pieces in the archive that expand our understanding of what is characteristically 'Delian'.

    This is where the PM piece unitentionally created some confusion – I thought they did a great job to fit everything they did into 5 minutes but inevitably some clarity was lost – and much of what I said was cut (I don't blame them!) where I tried to explain a bit more about the archive and the extracts heard in the piece – quite a bit of what I said was edited and placed slightly out of context – so when I was discussing Delia's amazing rhythmic precision and beat matching pre-synthesizers or multi-tracking software, we're actually listening on the PM item to a piece that does use synthesizers! These things happen I guess – I was really pleased that PM acknowledged Ron Grainer's vital contribution to the Doctor Who theme but elsewhere a lot of the other coverage I've seen described Delia as 'Dr Who composer' which isn't quite the full story as we know! I know it's word counts and sound bites so it would be naive not to expect these things to come in.

    There are two things to clarify about the rhythm track up on the BBC site – the first relates to Delia's voice saying 'forget about this, this is for interest only' – that bit of speech is from a different reel in the archive (one of the several reels relating to her music for the Tutankhamun's Egypt series).

    When the BBC asked for something from the archive to include in the PM item I put together three brief extracts in consultation with Mark Ayres. I wanted to give them a range of elements to incorporate as they saw fit and a flavour of the different kind of things the archive contained – it was important to include something demonstrating Delia 'at work', so I offered them the extract from one of the Blue Veils makeup reels; then some of her freelance work for theatre (there's quite a bit of this aspect of her work in the archive – and just to clarify, the archive generously [there's an understatement if ever there was one] donated to Manchester by Mark Ayres, in agreement with the Derbyshire estate, contains principally Delia's freelance work – most of the pieces for BBC productions were assimilated into the larger archive of the Radiophonic Workshop) and then lastly the 'Dance from Noah' piece.

    At this stage I had no idea what else they were going to include in the PM item and didn't until I heard the piece on iplayer on Friday! I knew they'd spoken to Paul Hartnoll (they interviewed me on Wednesday the day before the piece went out and already had the Hartnoll interview in the can by then) but didn't know what else was going in there i.e. all those other Delia tracks and Delia talking about the DW theme tune.

    It seemed important to me that Delia's voice also be heard so when I put together the extracts for the BBC I added on the bit of her saying 'forget about this', which I thought was reflective of the way she might often self-deprecatingly play down her music or giggle with delight – there are moments on the archive reels where you can hear her doing this (especially on the Egypt masters where she introduces each cue) – but also relate to how her music was often unacknowledged in terms of her receiving a credit and she often was 'forgotten' off credit lists. It wasn't intended to imply that she was referring directly to the 'Dance from Noah' track!! Again, this is due to elements being used out of context.

    The second aspect that needs to be clarified about the rhtyhm track on the BBC website relates to the long high-pitched 'ambient' notes slowly fading out of the clip as the rhythm track fades in – these are from a different reel in the archive and are the vestigial remains of a 45 minute in-house presentation at the University about the archive after the initial digitisation had been completed (mainly to reassure the University about what we'd been working on and how their initial funding to help get the archive up and running had been spent!) – for this presentation several extended pieces from the archive were played in succession with slow segues between them, as one piece faded out another faded in – and it's the remnants of that which you hear at the beginning of the PM extract.

    Once those notes fade out on the extract heard on the PM item, you have the rhythm track on its own before it too fades out (as said earlier, there's around 9 minutes of this on the makeup tape).

    The reason for the fades in and out were purely to protect the integrity of the archive. We were limited – for copyright reasons – as to what and how much we could offer to the BBC – we still need to identify all the pieces in the archive, including in what context they were broadcast/used and whether there are any outstanding copyright issues, so the extracts offered had to be fragments, makeup elements or freelance work.

    Please rest assured, we're not going to hoard these sounds away!! We are bound though by an agreement with Mark and Delia's estate that no commercial exploitation of the archive is done without discussing it with them and receiving their full approval (CD releases will almost certainly be produced by Mark in keeping with the releases of Radiophonic Workshop material that he has produced and overseen) and we cannot break that trust – the fades on the extracts released to the BBC were put in to make sampling difficult – which I know will sound harsh to many people (and is hypocritical of me given the amount of stuff I've sampled over the years!).

    Long term I should stress again, we’re not going to lock these tapes away – we’re applying for funding to commission new pieces of music inspired by Delia, her life and work and so one of our plans is to be able to invite composers to come and work with the archive, so that it continues to live on and generate new music – but at this early stage we had to be careful and I hope people understand the reasons for that – in time though the archive will be open for people to come and listen to and read its contents.

    So many apologies for the lengthy spiel, but I hope that explains things and reassures you all – there’s no hoax at work! The rhythm track on its own, isolated from the rest of the piece, is quite remarkable and is a genuine part of Delia’s archive – as I say, the tape that it’s on has all the other elements of the final piece as well as several false starts on it – but when we heard that rhythm sequence we were amazed and I really wish I could release the unedited 9 minutes of it so that you can all listen to the whole thing and fully quell any concerns (I don't blame Captain Howdy for being suspicious at all).

    Please do email me if you have any further questions – I know just how important Delia's music is to so many people and what an inspiration she continues to be – the response since the BBC piece last week has been overwhelming and I have a *lot* of emails to write in the next few days to people before I can go away on holiday next week – so replies might take a while but they should arrive eventually!

    One or two people in the thread mentioned that the story of how the archive came to Manchester remained a mystery – it's not been a mystery on our part – again, any mystery is a result of tight word counts in the media coverage. There's a brief piece about how we got the archive here:

    The absolute priority had to be to make digital transfers of the reels – and this took a lot of time as it had to be worked around other teaching, admin and research duties. We were helped massively by Louis Niebur – a US academic specialising in British electronic music – who spent the summer with us on the archive. Given the age of the tapes and the condition they'd been stored in (they were passed on to Mark in cardboard boxes, one of which was a box of Kellog's All Bran I seem to remember!), the vast majority played remarkably well – but a number were problematic with the splices coming apart as they were played on the Studer and requiring careful reconstruction. One tape in particular was in such a fragile condition that we have still not done anything with it yet. Another major problem was determining the correct playback speed on the Studer – several tapes spliced between 7.5 ips and 15 ips – so it was often not a case of a straightforward playback as we had to adjust the playback speed accordingly – but in some cases we couldn't be 100% certain what that speed should be (often a helpful clue was a human voice introducing the next cue on a tape).

    The vast majority of this was completed and the files bounced by the end of September 2007 – then the academic term started up again! Over the next months I found it difficult to give the archive the extended time it needed alongside all my teaching and admin duties (plus finishing a contracted book!) – and it wasn't until the academic year was over that I was able to give the archive some quality attention again – all of which coincided with the 50th anniversary of the Radiophonic Workshop so the timing seemed right at last to make a formal announcement -hope that explains the time lapse gwenhwyfaer!

    The archive ultimately should be available to anybody with a genuine interest in Delia's work – it's not just to be coveted by academics – Delia made music for everybody to listen to – one of the many beautiful qualities about her work is its combination of the experimental and the popular, drifting into and filling our homes (whether invited or not!) and, in the case of *that* theme, being the sound of so many peoples' Saturdays for the best part of two decades – and so once the archive is fully catalogued and identified (or as fully identified as it can be!) it will be opened up.

    Apologies again for the ramble and hope the above has clarified things a bit more.

    All best wishes,


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  • Captain Howdy

    @ David… thanks for taking the time to explain more about the recordings. Being a great admirer of Delia's work, I would love nothing more than to be corrected about my assessment. I was unaware of her collaboration with Unit Delta Plus and her access to a VCS3. I was under the impression that she had a certain disdain for synthesizers. It good to see that she experimented with them nonetheless.

  • Captain Howdy

    Oh, and BTW, I'm not too sure about the use of a "drum machine" on the recording. Programmable drum machines don't really make an appearance 'till the early 70's. Other than some custom devices built by Raymond Scott, the only drum machines that I can think of, in use during the late 60's, were preset rhythm machines, such as the Rhythm Ace, and the rhythm boxes used with or built into home organs.

    I would think that it's more likely to have been a synthesized sound that was either sequenced by an analog sequencer, modulated with multiple asynchronous LFOs or put together into a rhythm via cutting and splicing tape. It also sounds like there are either some velocity dynamics going on in the drum sounds (highly unusual for the time period) or perhaps some echo/delay that is being used, which gives that impression of dynamics due to the echos fading out in volume over time. It's kind of hard to tell from that short snippet. I'm dying to hear a longer version.

  • Captain Howdy

    Hmmm… re-read your post again. I was under the impression that others were interpreting this as a "dance" track. I'm quite shocked that the tape is actually labeled as such. I would have thought that it was written to score some action scene or something similarly kinetic. There is absolutely no precedent to explain why someone would even think of this as a piece of music that people would dance to during the late 60's. Have you ever scene how people danced back then… and at what BPM they did it in? Makes no sense whatsoever.

    The more I read about and listen to it, the more I'm convinced that it's a hoax. I believe your sincerity in the matter, but I think that someone has been "putting you on".

  • captain howdy, I'm sorry but you come across as a presumptuous idiot.

    David has explained that this is most likely the drum track from a piece titled "Dance from Noah"

    the only identification on the reel is a label that says ‘NOAH’s dance – basic rh.”

    IE: " basic rhythm"

    when you hear the whole piece in its finished form with the synthesized melody line and various effects, the rhythm is far less striking as it’s buried further down in the mix

    I'm sure this imaginary hoax of yours involves time travelling back to 1971 and installing this hoax deep into an overdub of a released piece and then time travelling back to now, just to trick us all?

    Your presumptions about what was and was not happening in the individual tracks of 1970 studios is laughable, especially when you seem to be suggesting that your ill informed opinion stacks up better than a team of academics armed with physical evidence with a reliable and provable provenance.

    classic internet fool.

  • Okay, okay. Let's break it up — this isn't worth having a flame war on this thread.

    Howdy: the Radiophonic Workshop did a whole bunch of programmatic pieces, theatrical pieces, etc. I don't think Derbyshire was intending to release this to the dance halls. It's just a description.

    Angstrom: I recognize you're frustrated, but please, let's be civil to fellow commenters, whatever we happen to think of their opinions. Thanks.

  • Captain Howdy

    @ Angstrom… I can understand that you don't agree with my statements, but I really don't understand why it warrants the attack that you directed at me. I think that you're way out of line here.

    If you really want to debate the subject, how about presenting some facts, instead of just personal attacks and meaningless "straw man" arguments?

  • ringroad

    @Howdy, check the Delia site:, "Dance with Noah" is from a VCS3 promo record.

    I've never had my sweaty paws on a VCS3, but given it has a noise generator, ring mod, and 3 oscillators, I'd guess that it would be well within its capabilities.

    The version of the track I have is about 54 seconds long, and is a sweet little thing, starting out with some analogue beats similar to that in the "noah's dance rh" clip, before getting subsumed in a piccolo melody.

    Just doing a quick tap tempo thing with bpmWidget in Dashboard suggests they're of similar tempos, somewhere around 155bpm.

  • ringroad

    Eeek, sorry : track is called "Dance from Noah", before anyone complains…

  • Captain Howdy

    @Howdy, check the Delia site:, “Dance with Noah” is from a VCS3 promo record.

    Yeah, I saw that but haven't been able to find any sources that I could hear it from.

    So you've heard it then and think that it compares to the snippet on the BBC site? Well, that might settle things then. It would be great if you could post a little bit of it somewhere.

    One of the things that may be throwing me off, is that the rhythm snippet is just a submix, being focused on all by itself. David did say that heard in the context of the whole mix, it is vary understated. Perhaps if I heard the final mix, I wouldn't be so skeptical.

  • OK, I've posted a tiny snippet from the track on my posterous thing, click my name to get to it.

    I've kept it really short hoping that it's ok to quote it – if anyone from Delia's estate want me to remove it I'll do it as soon as..

  • David

    Just a quick follow-up – and again mainly to Captain Howdy – but no hostility intended at all!

    Re: the tape being labelled as a 'dance track' or intended for people to dance to – as Peter says, that almost certainly wasn't the case at all – we're pretty certain that the track was originally for use in a BBC production.

    Think of 'Noah's Dance' as something like 'Anitra's Dance' from Peer Gynt – a dance for a particular character in a drama – something that the *character* might dance to (or represent their dance – actual or otherwise) but not meant in the sense that we understand 'dance music' today (or back in the late 60s/early 70s for that matter).

    In terms of Delia and synthesizers – you're absolutely right that she wasn't overly-fond of them but she did use them – I'd urge you to check out the Electrosonic album that she did for KPM with Brian Hodgson and Don Harper, under her pseudonym of Li De la Russe – this album of library music stems from 1972 and is fully synthesized – I promise you, when you listen to a track like 'Computermatic', the rhythm track of 'Noah's Dance' will not sound so impossible to you anymore!

    The album was re-released a couple of years back as a limited run, so is sold out again alas, but there are details about it here:

    Hope that helps put her music and the Noah rhythm more in context for you – I'm sure there are people on the forum who have heard Electrosonic and can confirm that I'm not making the above up to fob you off!

    All best,


    PS – thanks too to ringroad for the info on the EMS album – I'm hoping to hear a copy of it in the near future so your post was really encouraging!

  • David

    Re: my last point about Electrosonic – just noticed that Peter's put a whacking great big image of the album cover up elsewhere on the site!! Should have looked before I typed…!

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  • David

    ringroad, just heard the brief snippet on your blog – yep – that's the piece on the 'Noah's Dance' reel in the archive!!

    Take away the melody line and the figurations around it and you've got the basic rhythm heard in the PM item. As I said in my first post, once all those extra elements are mixed in the rhythm track loses much of its impact – but that's the one! Many thanks for the post and helping us confirm that the EMS album track uses the same elements as those on the reel in the archive.



  • Captain Howdy

    @ ringroad… Thanks for posting the snippet. Yeah, as I assumed, listened to in context, it makes much more sense as being stylistically from the period. Cases closed. LOL!

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  • доверительное управление – – лучшие памм счета

  • The plan for the whole archive appear to be nothing but a plan. Mark Ayres sat on the tapes and papers for five years and produced… nothing but an unpublished catalogue. Then he passed them on to Manchester who digitized then in 2007 and, five years later, have produced… more nothing. The years pass, we are all ten years older and nothing emerges. Access to the papers and music is for approved university researchers only, while the BBC is trying to claim that all of it is copyright to the BBC because it was either produced using some of their equipment or uses some of the same sounds that were used in BBC themes.

    Meanwhile a separate analysis is underway, the WikiDelia at harnessing the power of the net to achieve what no individual can…

  • The plan for the whole archive appear to be nothing but a plan. Mark Ayres sat on the tapes and papers for five years and produced… nothing but an unpublished catalogue. Then he passed them on to Manchester who digitized then in 2007 and, five years later, have produced… more nothing. The years pass, we are all ten years older and nothing emerges. Access to the papers and music is for approved university researchers only, while the BBC is trying to claim that all of it is copyright to the BBC because it was either produced using some of their equipment or uses some of the same sounds that were used in BBC themes.

    Meanwhile a separate analysis is underway, the WikiDelia at harnessing the power of the net to achieve what no individual can…