Pop Shield

Tales Of A Radio Sound Engineer. This blog is dedicated to Caroline who kicked my ass to do it. Follow @popshield on Twitter @Popshieldblog on Facebook.

It’s Been Emotional…

It’s been an odd day to polish off a whirlwind week.  OK, so my work week is ending on a Wednesday, but that’s radio.

I’m very proud of Little Sister Radio, who had a mighty axe hovering over her head last year and she not only dodged it, but also ran off with the biggest award in radio last night. Everyone in the building was fired up about it today.  It felt like the day after an office party, everything louche and open and skew-whiff.

Awards ceremonies remind me of school prize evenings.  Take a glass of richly deserved recognition and lace it with a trace of embarrassment, a pinch of paranoia and a smattering of sour grapes.  On the whole, technical staff are not much involved in these things.  Having DJ’ed at several departmental parties I can vouch that a room full of engineers is not the most happening of places.  Imagine, if you will, of a room full of (mostly) men standing by the bar and swapping wild stories about their latest home computer network solutions.  As a group, we don’t do ‘emotional’ very well.  For this reason, I’ve spent years watching colleagues getting excitedly dressed up for the ball and then carried on with the hoovering. All very Cinderella.

The upside of this predicament is that when the stuff hits the fan it’s a mighty safe place to be.  No more so, than when I was trapped inside the eye of the media hurricane that was the crazy public outrage following a certain Rusty Claypole show I worked on.  Welcome to life in the blind spot, so close to it all, but totally invisible. Truth is, I’m very comfortable in my invisibility cloak.

Today I rise at 4am, get in my taxicab and immediately recognise the driver: it’s Paul: reliable, portly, not too chatty. But he usually drives an MPV not this Prius. I get in behind the passenger seat.  “New car?“ I ask.  “Yep, hate it, too many bells and whistles” he says.  And sure enough, around South Mimms service station he bounces off the side of a textiles lorry whilst overtaking it.  I gasp, but it’s immediately apparent that there’s nothing to worry about. A flurry of pulling over, hazard lights and two men shouting ‘mate’ at each other.  I phone to alert the Broadcast Manager, but I’ve got a buffer time in hand and we’re soon sailing through the photographer’s dream of sunrise over London.  I contemplate the so-called best part of the day and the pros and cons of being up for it.

So, I get to work.  Top Cat was not only the presenter of last night’s prestigious radio awards but winner of a top award, so I am prepared for this.  The producers on this show are very disciplined people and left the awards early to be on form for all the challenges the show presents.  Even Top Cat, who usually cuts it fine, is fifteen minutes early, although he’s looking rather crumpled.  As I come out of the big disabled toilet, he is standing outside waiting to come in to camp out and read the papers, jump on the spot, tweet, and all his other normal rituals before addressing the nation.  I receive the usual namecheck for being on “the bells, whistles, levels and faders”.  Unlike Paul the cabbie, I quite like bells and whistles.

After the show an unusually stirred but still goy-gious News Schmu comes in to apologise for the ‘Japanese’ she levelled at production during what was just an off-morning for her.  We chat about whether the awful lady in the news should go to prison or not, then I go out for an egg butty and coffee.  On my way back in, I spot the wonderful Bob The Balancing Cat sitting on his owner James’s shoulders in our very own doorway.  Always a good omen.  Meanwhile, an emotional-looking Maso Mercury has just come off air and is leaving the building.  After last night’s victory, he seems to be precisely the type of person who would appreciate being shown a performing street cat, so I point him out.

My next little job is to edit up the little pieces of ‘smoke and mirror’ belonging to the crazy imaginary radio world of host Dave Wrong.  Ron Wobbleboard comes in for an interview and plays his wobbleboard.  The interview wraps and the turns stand around discussing the various incarnations of said wobbleboard.  Next, a somewhat cheesy American singer comes in.  He has had way too much plastic surgery.  The pressure of looking at his face for fifteen minutes clearly gets to Dave.  After the singer has departed, he vents: “Creepy doesn’t cover it!”

Through the window into the next-door studio, I can see that Waylon Wine has missed his live two-way slot with Zen Hoots, confirmed by the rare sight of a member of the Wine production team sitting at the guest mic to trail the show on national radio.  At the end of this, Waylon arrives wearing a leather jacket and not his usual smart suit jacket.  Hmm, definitely a wonky day.

Finally, on the way out I bump into Adam, and we have a little debrief from Ta-Dah! which was a massively stressful but fun exercise in trumpet-blowing which I worked on last week. It already feels quite some ago.  On my way home hailstones bounce off the roof of the train as I listen back to a live show I worked on last month about the sinking of a famous boat.  It already feels like a hundred years ago, such is the variety of events that have been taking place in my radio life recently.  I think it’s time for me to switch off now.

The day after the madness of Ta-Dah! (I suspect there’ll be more of this later) I am sent off on a 13-hour orchestral outside broadcast to recover. Luckily most of the mics are still rigged from Ta-Dah! There is, however, the overhanging issue of muffled timpani to address. I clamber up the rostra, sneak into […]

The empty theatre falls quiet as anthemic piano-rockers Eagere and wily radio DJ Jane Smiley gather for a post-soundcheck interview. And around them their sunlight-design backdrop politely communes with the art deco house lights.

Rise And Shine

Right, let’s get these cornflakes laminated!

Producer of the early breakfast show on Nations Favourite.  

Yesterday the partied-out artiste KP-Nutz! was carried whilst LYING ON A SOFA from another room to be placed in front of her sparkly microphone for technical rehearsal. Today is another story as we sail very much alive and live-a-live-o into another successful radio transmission. Meanwhile, I’m exhausted after a very stimulating run of work. Hey, […]

Just spent twelve hot, long but fascinating hours babysitting a film crew recording a fictitious radio session for a feature film. I understood one of my jobs was to help consult on authenticity, but it soon became apparent that I was taking it all far too literally… “But why would you want the groupies to […]

Can You Hear Me Now?

If there’s one radio guest that you don’t want to have to try to engage in a lengthy technical discussion from the other end of an ISDN circuit five thousand miles away it’s probably the diminutive top-heavy country song writing legend Molly Carton.  But that’s another story.

And if there’s a man on this planet who you would least rather have an “is your radio turned off / is your phone fully charged / how many bars of signal do you have / are you off hands-free / are you parked in a safe place with the windows wound up?” kind of conversation with its chirpy Liverpudlian Sir Pete McCarthy from 60’s pop phenomenon The Bugs who’s in the middle of the school run and a bit stressed as he’s about to go and catch an aeroplane.

It’s the morning show on Nations Favourite Radio and Sir Pete is expected to break normal protocol (a right reserved by the extra famous) by calling in on one of the control room telephones. Unbeknownst to the host of the show, it will be a surprise interview to promote his new record.  There are two minutes to go until Sir Pete is due on air and the watched phone sits there all silently.  Tom’s on tenterhooks, we are collectively willing time to slow down. Oh, and as if that’s not enough pressure, the Deputy Head of The Corporation is sat watching. Mr Tickle has scheduled an extra-long seventies track to eke out the time but still no sign of McCar.  There’s a standby guest ready to go.  Tick tick.  Record ends.  Long chat with the sports guy, good, good, and then…here comes the interview, oh damn, fade the backup girl up.

Soon after the replacement interview gets on air the telephone in question shrilly bursts into life.  Tom answers, has a brief chat and then says, “Sir Pete on TBU2”. I divert the call to the mixing desk, hit the pre-fade to check the line.  And what do you know, it’s a bad one!  Ffzz Ffzz Zpp.  Och. Here goes. “Hello, Pete, it’s the engineer here.” “Oh Hi. Ab dib bup hep sczscz.”  Pants.  “Pete, your line appears to be a little noisy.  Are you hearing the program ok?“. This time the reply comes back audible. “Yes, thank you, all sounding good to me”. Hallelujah. “And you’re sounding loud and clear to us now too, please stay on the line we’ll be with you any moment”. Cue Top Cat. “Now guess who’s just phoned in!  It’s Sir Pete McCarthy!  Hello Pete, are you there?”

No choice but fade it up and hold my breath.  It’s not so easy to try and operate machinery whilst crossing your fingers. Thankfully it sounds fine, and it’s getting better all the time.

Class Masters

One of the many billion things I love about my job is that I get to work with some of the loveliest, funniest, cleverest and most creative people around.  Once a year now the music recording studio doors are cast open to a selection of aspiring songwriters, musicians and producers so that they can share in the joy and pick up some tips and it’s all streamed on the internet for the general public.

I have had a few hours of downtime today, so I looked into some of these videos.  And I must say they are an interesting sideways glance at how my esteemed senior colleagues view the art of recording digested for a lay perspective. Here are some of my favourite bits:-

“The 1176 is God’s own compressor…it was invented by God, to make his own voice louder.”

“Drums don’t scare me. They’re just drums.  Hit them.  Don’t worry about them.”

“You really have to try and understand where your artist is coming from. You’ve got to try and listen to the voices in their head. Because they’re musicians, they can’t articulate themselves with words, that’s why they play something. You’ve got to try and work out whether they’re hearing a purple guitar in their head and what shade of purple that should be.  Insanity doesn’t come into it.”

“Singing drummers.  Nightmare.”

“People used the [saturation] qualities of tape to change the sound. Tape distorts in a nice way so you would record it loud in order to harvest some of that distortion.  But if you wanted a clean sound….  Erm, I don’t know what you would want a clean sound for!  Then you would record it quiet. I mean if you were recording Simon Paul or Poke.”

“I could take all these mics down and use Korrekt SM57s for everything.  I’d be quite happy doing that. On everything I could use £70 microphones.  I’ve never tried it, but I could…well I’ve only got two SM57s.”

“The idea with compression is to keep the bass instrument absolutely like a big piece of chocolate cake.  You know it just doesn’t move.  It’s always there.”

“I have these speakers at home. I’m lucky enough to know the guy who makes them, so I get a deal.  I wish I was friends with Waves. It would save me a fortune.”

“The guitar, the way he’s playing it, the way I see it, just needs a large amount of reverb. Because he’s trying to express godlike sentiments.  And when God speaks to you, he’s got a lot of reverb on his voice.”

Genius.  Love you guys.

Angostura Britters

You may recall the time I helped song writing legend Dick Cadillac out of a fix by giving him a green teabag. Or perhaps the time I broke open my new box of Yogi Cold Season herbal tea to give a bag to song writing legend Roy Jones. No? Well never mind. Now I bring news of a brand-new celebrity drinks-related anecdote. Which, as many of these stories go, is just a shameless excuse for me to drop made-up names.

In an exciting turn of events, I am asked to accompany producer Adam and Britpop jacket-flapper turned king of culture Calvin Jocker to an exclusive Mayfair hotel. A place often frequented by the late great crotch-grabbing, white-gloved monkey lover Jackie Markson. Our mission is to record a question-and-answer session with veteran Canadian poet and musician Chester Lohen following playback of his new album to a theatre full of journalists and art critics. I am nervous about the audio as it is to be used on air by several big arts and news programmes such as Tomorrow and Back Row, as well as Calvin’s own Sunday Sequence.

The album is lovely, all deep and sparse and the conversation is honest and thoughtful. Calvin points out to Chester that his sad poetic imagery of a broken banjo floating in the sea is offset by the fact that it is perceived in the UK as a somewhat comic instrument. Chester takes all with grace, humour and humility. My BB+ recorder holds out too.

After the event I join Adam and Calvin for a quick drink in the private bar. It’s detox January and Calvin and I are both off alcohol. I order sparkling water, Adam beer and Calvin asks for an adventurous tonic with a few drops of angostura bitters. This is a talking point. Calvin kindly offers me a sip. I give it some careful consideration and say yes please. The only problem now is that there is a straw in the, as yet untouched, drink. This presents a social dilemma: Do I sip from the straw or ignore the straw and sip from the side of the glass but risk the eye-poke? Not without awkwardness, I bowl a googly and opt for a marginally more hygienic third way. I remove my own straw from my sparkling water and plunge it into Calvin’s drink. Which, as you ask, tastes interesting.  In fact, if “Interesting” were the name of a brand-new type of drink this is what it would taste like. Note to self – avoid career move into branding.

For anyone who was hoping for a “rum and coca cola” story I can only apologise.

Underground Burrowcasting

Absolutely loved the juxtaposition today of a slightly testy atmosphere of a room full of grown men with cameras navigating the logistics of filming a bunch of blokes wearing cuddly classic Wimbles outfits miming their new single live on the radio, and everyone taking it all a bit seriously. A discussion breaks out about whether or not it would be acceptable for The Wimbles to muck about in shot behind a business news report. Meanwhile, forearmed with the knowledge that “The Wimbles require foldback” one question I am not expecting is:- “Can you put even more backing track in the monitors please?  The Wimbles are finding it hard to hear anything through their costumes.“ Sorry, maxed out, my furry friends.  Good luck studio.