Derbyshire Absolute Genius with Dick and Dom


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Transcript


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'This is Absolute Genius.

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'So sit down, buckle up and get ready for take-off!

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'Each show, we'll introduce you to a different genius,

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'an amazing person who had a genius idea

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'which shaped the world.

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'And they will inspire us

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'to come up with our own genius idea at the end of each show.

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'But will it be any good?

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'Will it be any good? It will be... Absolute Genius!

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'And on today's show, get ready for an out-of-this-world experience...

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'Because today's absolute genius helped create

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'one of the biggest stars in the galaxy!

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'But just who are we talking about?'

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Today we're going to introduce you to a genius with a difference.

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A real trailblazer,

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who helped revolutionise the way that modern music was made.

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Pioneering techniques that produced sounds we'd never heard before.

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And she produced possibly one of the most famous pieces of music

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in this country...

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..if not the world!

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Or even the universe!

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I bet you know what we're talking about now!

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MUSIC: Doctor Who Theme

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Today's genius helped create

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the most iconic TV theme tune of all time - Doctor Who.

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What did you say?

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And when Doctor Who hit our screens back in 1963, it was the first time

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that most people had ever heard electronic music.

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It was groundbreaking!

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But she didn't just come up with a catchy tune - in fact,

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she didn't even write it - it was the way she made it

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and the way she made it sound that was absolute genius,

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and has had an impact on music to this very day.

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Ladies and Gentlemen... we give you... Delia Derbyshire!

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Hello, chaps!

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Inspired by her genius,

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we'll be coming up with our own genius idea later on...

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'..When we make our own music in a rather eyebrow-raising way!'

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But now, let's find out a little bit more about the good lady herself.

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This is a journey into sound.

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Born in 1937, Delia grew up during World War Two,

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and would lie awake at night listening to the alien sounds

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of air raid sirens and the crackling of buildings on fire.

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These strange sounds would inspire her later work.

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Delia loved music,

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but music back then was very traditional, played by orchestras,

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and nothing like the electronic tunes that she'd go on to create.

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Along with music, maths was her other passion

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and she graduated with a degree in, yep, you guessed it,

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maths and music from Cambridge University.

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First, there's the simplest sound of all, which is a sound wave.

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Delia was fascinated by sound,

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but to understand why her genius still affects the way

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music is made today, we wanted to know just what sound is

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in the first place...

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and who better to tell us than our resident genius Fran,

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who has a habit of popping up, just when you most need her?

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So, Fran, we're here to learn about sound.

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Can you explain it in a simple form?

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OK, well, let's start at beginning. Do you know what a sound is?

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-Something that...

-Is it like a frequency? Like waves?

-Um...

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-No. No.

-We don't know.

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OK, well, a sound is basically just a vibration -

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if you make something vibrate, it'll make the air around it vibrate

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and that is what we hear as a sound.

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-That's it?

-That's it.

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So are you telling me anything from dropping a knife on the floor

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to a cow going moo is just a vibration?

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Just a vibration,

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and that vibration is passed through the air as a sound wave.

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'To demonstrate, Fran had set up a Rubens' Tube - a metal pipe

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'with dozens of holes in it, connected to a gas supply

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'that you light... a bit like a barbecue.'

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-Hello!

-Wow.

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You say it's like a barbecue - mine doesn't do that.

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At the moment, it's not really doing much -

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all the flames are the same height, but in a moment

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I'll pop a speaker on the end

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that has a single tone going through, so just one note,

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and that's going to make the air inside the tube and the flames

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vibrate in a certain way,

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and we should be able to see the sound wave.

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-All the different heights? How weird.

-Hopefully.

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You should be able to hear the tone.

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TONE BEEPS

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Yes, I can see it! Bouncy.

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Down, up, down, up, down, up, down, up, down.

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So this a high frequency, which means it's like a high pitch,

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and all high frequency means is it's got quite a few lumps.

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So you can change it to a lower tone?

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-Yeah, a lower frequency.

-Which will have fewer bumps?

-Hopefully!

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LOWER TONE

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So you can hear it going lower and lower.

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So all the sounds we hear are just caused by different frequencies

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and different amounts of it vibrating.

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So our ear is picking up these different frequencies

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and it turns into the sounds that we recognise on a daily basis?

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Yep.

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'We'd seen the Rubens' Tube in action with single tones, but what

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'about with a whole tune? What about the Doctor Who theme tune?'

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That's absolutely bizarre.

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MUSIC: Doctor Who Theme

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It's not picking up all the notes, just some of them, but still,

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they're dancing.

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It's got the main bass line. # Diggity ding, diggity ding... #

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'It certainly did,

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'and there was only one thing to do at a time like this...

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'and that was dance.'

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That's enough of that - it's not about dancing,

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it's about Delia, and having finished university, she got

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a job at the BBC in a new department called the Radiophonic Workshop.

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The workshop's purpose was to provide unusual music

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and sound effects for TV and radio.

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Of course, shows had used music and sound long before the workshop

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existed, but it all tended to be much more traditional.

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Allow us to demonstrate.

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Good afternoon, ladies and gentlemen.

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Time now for the afternoon play from the BBC.

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We find our gallant hero Mr Chiselbottom walking

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gallantly up the driveway after a hard day at work.

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GRAVEL CRUNCHES

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DOOR BANGS

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Jill! I'm home!

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-HIGH PITCH:

-Oh, hello, darling. How was your day?

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Marvellous, thank you. I went to the market.

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-Ooh, did you see anything nice?

-Yes. I bought a horse. Called Brian.

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-Brian the horse?

-Yes. Lovely beast. Magnificent tail.

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-Oh, darling, how marvellous. I do love you. Give us a kiss.

-And I you.

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KISSES SQUEAK

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-Darling, where is Brian?

-He should be here any minute.

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Oh, listen, I can hear him galloping up the drive.

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COCONUT CLOPS

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Stop this! Coconuts. Shoe on hands?

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Cravat? Silly, isn't it?

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Those were just some very basic effects, but it's amazing how

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creative you can be. Here's our top five TV and film sound effects!

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Five - the sound of birds flapping their wings can made by someone

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beating a pillow.

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Four - a vampire sliding the lid off his stone coffin

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is actually someone sliding the lid off a ceramic toilet!

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Three - opening and closing an umbrella

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makes the sound of an elephant waving its ears.

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Two - the sound of a welly squelching in the mud

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can be made by spreading jam all over your face.

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Only joking, we made that one up!

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And at one, to make the sound of a fire crackling, simply take a

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packet of crisps, eat them all, and then scrunch up the empty packet.

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Genius!

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Traditional sound effects like these were very effective,

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and are still used today, in radio plays to Hollywood movies.

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But, by the early 1960s, TV programmes were getting more

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adventurous and needed sounds and music to match.

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Back then, space travel was new and exciting, the public was

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fascinated by the idea of new worlds and life on other planets.

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It seemed like science fiction was turning into science fact.

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And all this was happening at the same time as Doctor Who was

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launched, and that's why it was so popular.

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But programmes about aliens needed alien sounds.

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Thankfully, though, new technology

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meant that by the time Doctor Who was ready to hit our screens,

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there was a brand new generation of young, new musicians,

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and Delia was one of these people,

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and they were able to treat music in a very special way.

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And these geniuses were Delia and the Radiophonic Workshoppers!

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The Radiophonic's genius idea was to make music

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and sounds effects that no one in the world had ever heard before.

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Using unusual recording equipment, they created strange sounds,

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such as the sound of space ships, monsters and aliens,

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and, of course, the sound of the TARDIS.

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But how did they create these out-of-this-world sounds?

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They used electronic machines that made weird beeps and had weird names

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like oscillators and wobbulators, but that wasn't all Delia used...

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We spend quite a lot of time trying to invent new sounds that

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don't exist already, that can't be produced by musical instruments.

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If the sound we want exists already, in real life, say,

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we can go and record it. The sound I want for the rhythm of this piece

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needs to be a very short, dry, hollow, wooden sound

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I can get from this.

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NOTE RINGS

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Having got the sound she wanted, Delia then used it in her music.

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Sounds like these are called "found sounds" because you went out

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and found them!

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The other thing Delia used was audio tape, a new-ish piece of technology

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that allowed you to play around with sounds in a way you couldn't before.

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To find out more, we thought we'd better head to

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the Radiophonic Workshop itself.

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'Now, we had no idea where it was, but I knew just who to ask...'

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Whereabouts is this Radiophonic Workshop then? Chicago? Hawaii?

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He's not going to tell you - he's a waxwork.

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It's in a place called London.

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I love London!

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London, home of the Queen, home of the Prime Minister

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and home of the Radiophonic Workshop,

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based at the BBC's world famous Maida Vale studios.

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Anyone who's anyone has played here, from the Beatles to Pink -

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and it's where Radio 1 record the Live Lounge.

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Now, even though the Radiophonics department was one of the smallest

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in the BBC, it was also possibly one of the most exciting,

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and it all happened within this very, very long corridor,

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and behind these doors.

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Just think, behind these doors are all the buttons, the tapes,

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-the reels, you can press any button...!

-I can't wait!

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Hmmm... looks like we're a bit late.

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-Yeah.

-It's an office, isn't it?

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-Bit boring, really, isn't it?

-Yeah.

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'Unfortunately, the Radiophonic Workshop closed down in 1998.

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'By then, you could make all those sounds on computers.

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'After being unfunny with the photocopier, we thought we'd

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'better carry on looking for some old radiophonic machines -

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'and guess what? We found some!

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'We didn't really know where to begin, though.'

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No, still don't get it.

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'We needed some serious help...

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Is this really important tape?

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'..And we found it,

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'in the form of genius composer Mark Ayres,

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'who worked at the Radiophonic Workshop

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'before it closed and even knew Delia.'

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We've been looking around the building at all these machines.

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What do they actually do?

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Well, these machines, these are quarter-inch tape machines,

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and they play back and record - or record and then play back -

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sound on quarter-inch tape. This is quarter-inch tape.

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On here I've got a very simple tone, one note.

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TONE BEEPS

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If I double the speed of the tape machine, it's gone up an octave.

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If I halve the speed of the tape machine...

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it's gone down an octave. Now, if I play it and start

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varying the speed while we do it...

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TONE OSCILLATES

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Ah, so you can actually make a tune by just...

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Just by going faster and slower.

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And that's the start of making music with tape.

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'And what a start it was -

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'but Mark was about to pull something out the bag that would

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'blow our minds.'

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There you go, have a moment, chaps. Guess what that is?

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What is it? Let's have a look. Doctor Who...

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-That is the original master tape.

-Original theme tune?!

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-Wow.

-This is it from back in the day? What year was this from?

-1963.

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-1963!

-Wow.

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'We were holding in our hands some TV gold,

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'and, more importantly, it was the exact reel that Delia herself

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'had made - it even had her hand writing on it!'

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Don't drop it!

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'Surely it wouldn't still work though?'

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MUSIC: Doctor Who Theme

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'Of course it did!'

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That sounds like the tone I was playing with earlier.

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Absolutely - done exactly the same way, varying the speed

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and adding some echo.

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'But there was a lot more to making music on tape than that,

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'because you couldn't just cut and paste bits of music to other

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'bits of music to make a tune... Well, you could,

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'in fact that's exactly what you did back then,

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'but for real, not on a computer.'

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Let's do a simple rhythm like "dum bada dum bada".

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And seeing as we're here, with the Doctor Who bass line,

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let's have one of Delia's notes.

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-So hit play and record on that machine for me.

-At the same time?

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Yep. Good, excellent. Play this.

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RHYTHMIC TONES

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That's all right, hit stop, that's all we need.

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It's now recorded from there...

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-Yeah.

-..onto this.

-Onto that machine.

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'So, we'd copied a few notes from the original Doctor Who theme

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'onto a blank reel of tape, but all we really wanted was one single note

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'which we could use to make our simple tune.

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'And to isolate that one note we needed a razor blade!'

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-Other way.

-No, the other way! No!

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SHRIEKING

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-That way.

-Oh, that way!

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'Yes, we were literally going to cut it out

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'and stick it onto some more blank tape to make a brand new loop.'

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Here's our note.

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One, two, three, four. One, two, three, four.

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'Having done that, we could then play it at different speeds

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'to get different notes, each time recording from one machine

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'to another until we had our tune!'

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TUNE PLAYS

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(RAPS) Dick, Dom and Mark, we're splicing

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We're splicing the tapes round and round

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-Dick, Dom and Mark, we're splicing!

-He's very good.

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'Well, I hope you enjoyed that, because it took us

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'well over an hour to make that one simple tune.

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Yeah, but how long do you think it'd take using modern methods though?

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HE PLAYS TUNE

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Oh.

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-Not even a minute of work.

-Exactly the same thing.

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Yeah, but do you know what? I don't feel the passion in that.

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-No.

-I feel it when I hear that.

-This is art.

-This is art.

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It really is art.

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So, I think we've proved that without doubt Delia Derbyshire

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was a musical genius years ahead of her time.

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-and do you know what I'm thinking?

-Nope.

-Really?

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Of course I do! That we should make some music!

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Yes. We should make our version of the Dr Who theme tune,

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-using some of Delia's methods.

-Yes.

-Do you know what else I'm thinking?

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Yes, and it's not suitable for now.

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Here's the plan.

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Our mission - to create a Dick and Dom Doctor Who theme tune.

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Our challenge - finding unusual sounds and using them

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just like Delia might have done.

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Our problem - sounds can be found everywhere but which ones

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should we choose to make sure that our theme tune is out of this world?

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-BURP!

-Put that CD in, would you?

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We should start off by listening to some of her tracks for inspiration.

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That's a good idea.

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'We were loving listening to Delia's tracks and what struck us

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'was how modern lots of them felt.

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In fact, her music was

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so ahead of its time that it still inspires electro-music acts today.

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Like Orbital, who, with a little help from the Doctor,

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played their version of Delia's famous tune at a recent festival.

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That's insane. Do you remember how long it took us to make that loop?

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-Listen to that.

-That tune is all from beeps.

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'We also loved the theme tune for the programme

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'Great Zoos Of the World - a track made entirely using animal noises.'

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The more you think about it, the more you think about how she was

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putting it together. Splices here, just to make these different sounds.

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This is going to be harder than we think to re-enact, you know.

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She trained in it for years and years

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and was also just a creative genius.

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The more you listen to, you can hear there's bit after bit.

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There's so many different noises in there. It'll take for ever.

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What? To create our own Doctor Who theme tune?

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Oh, well, at least we've got the inspiration.

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We kind of know what route we're going down. We've just got to

0:16:550:16:58

find the noises then put it all together.

0:16:580:17:02

-There's another problem though.

-What?

-Neither of us is that musical.

0:17:020:17:07

'The truth was that although we love our music,

0:17:070:17:10

'we're more about the dancing.

0:17:100:17:12

'And that wasn't going to help us now.

0:17:120:17:15

'No, what we needed was a modern-day Delia, and, guess what,

0:17:150:17:19

'we found one!'

0:17:190:17:20

Experimental musician Caro C, a lifelong Delia fan

0:17:210:17:25

and electronic music maestro.

0:17:250:17:28

-We want to recreate Delia's Doctor Who theme tune.

-OK, right.

0:17:280:17:31

In our own special way.

0:17:310:17:32

Obviously not using the old machines she did cos that just took for ever.

0:17:320:17:36

On thing we wanted to try and use is a little loop of reel tape

0:17:360:17:40

that we took from the original Doctor Who track with Mark yesterday

0:17:400:17:44

and include that. Is that possible? We've looked after it very well(!)

0:17:440:17:48

Yeah, yeah.

0:17:480:17:49

If there's any way of getting that from the state it's in to digital.

0:17:490:17:54

-I don't know.

-Well, luckily, I did record it on my phone.

0:17:540:17:58

-I don't know if I can email that to you to use on the track.

-Yes.

0:17:580:18:01

So what kind of sounds are we looking for?

0:18:010:18:02

Well, if you think about the track, it's obviously quite spacey,

0:18:020:18:06

isn't it, that theme tune? So, I reckon you're looking for,

0:18:060:18:08

if you can go to a junk shop or charity shop and find some objects.

0:18:080:18:12

You're probably looking for quite metallic objects cos you

0:18:120:18:14

want them to have a good ping or a good bong so we can use that.

0:18:140:18:17

Like, for example, a big biscuit tin might be quite good for the bass.

0:18:170:18:21

Those sort of objects will give you a good resonant sample to start with.

0:18:210:18:25

To give it our own style, we need something a bit different, I think.

0:18:250:18:28

We'll make it a bit funny. What, comedy? It's weird, all right.

0:18:280:18:32

One of the funniest things in the world is a pig. Can we use pigs?

0:18:320:18:35

-Or a farm.

-Why not?

-Farm animals.

0:18:350:18:38

-OK, why not?

-All right, let's go to the farm.

0:18:380:18:40

-OK.

-See you later.

-See you soon.

0:18:400:18:43

'So we finally knew what to do!

0:18:430:18:45

'We needed a farm and a charity shop.

0:18:450:18:47

'but no harm in picking up some sounds on the way.'

0:18:470:18:50

-HORNS BEEP

-Yes! Yes! And all the way down.

0:18:550:18:59

Hoot your horn!

0:18:590:19:01

Bogies!

0:19:020:19:03

Street - done. Next up - charity shop.

0:19:060:19:09

-CLATTERING

-Sorry. Sorry. Sorry.

0:19:110:19:13

That's quite enough of that.

0:19:220:19:24

Right, we'll get this stuff in the car

0:19:260:19:27

and go and find some more sounds.

0:19:270:19:30

Hurry up, will you?

0:19:300:19:31

Right, let's go and find some pig sounds.

0:19:340:19:36

SNORT!

0:19:360:19:38

-Hello, piggies.

-Piggies.

-Piggies.

0:19:380:19:41

Come on, bray, bray.

0:19:410:19:43

HONKING

0:19:450:19:46

SNUFFLING AND SQUEALING

0:19:460:19:49

Are you having a scratch?

0:19:490:19:50

SQUEALING

0:19:520:19:54

Come on, sheep, make some noise.

0:19:540:19:57

BAAA!

0:19:570:19:58

Got some?

0:19:580:19:59

You can't, you'll break your teeth, you naughty boy.

0:20:010:20:04

'As Delia proved, and as we were finding out,

0:20:050:20:08

'animals and music go together quite well

0:20:080:20:10

'but that hasn't always been the case.'

0:20:100:20:12

Here's the Not So Genius Idea.

0:20:120:20:15

In 1977, Pink Floyd, a famous band influenced by Delia,

0:20:160:20:20

released an album called Animals.

0:20:200:20:23

The cover featured a giant inflatable pig,

0:20:230:20:26

floating above London's Battersea Power Station.

0:20:260:20:29

During the photo shoot,

0:20:290:20:30

a strong burst of wind snapped the tether and the pig escaped!

0:20:300:20:33

It disappeared, before startled airline pilots

0:20:330:20:36

spotted it at 30,000 feet.

0:20:360:20:38

It then crash-landed in a field full of cows.

0:20:380:20:41

So pigs can fly, well, almost.

0:20:410:20:43

-Hi, Caro.

-Hey.

-Look, he's got it all.

-Wow.

-I've got it all.

0:20:450:20:49

'Having lugged our new instruments back with us,

0:20:490:20:52

'Caro suggested we play them again under her expert supervision.

0:20:520:20:56

'So we did!'

0:20:560:20:57

-Good, right, thumbs up.

-Recording. Go.

0:20:570:21:00

Drum stick.

0:21:000:21:01

Dog bowl. Bottom of.

0:21:050:21:07

CLATTERING

0:21:130:21:15

SLOSHING WATER AND SLURPING

0:21:190:21:22

TAPPING AND CLATTERING

0:21:250:21:27

Got it? Right. I wonder what she can do with all of that.

0:21:320:21:35

Although it might look like we're just messing around,

0:21:370:21:40

Caro was recording all the sounds and they,

0:21:400:21:42

along with the other noises we'd gathered, would be what we'd

0:21:420:21:45

use to make our version of the Doctor Who theme.

0:21:450:21:48

So what can we do with the pig?

0:21:480:21:50

-I'm feeling that the pig could work as the bass line.

-Oh.

0:21:500:21:53

'And with just a few clicks, Caro took a single oink

0:21:530:21:57

'and turned it into the basic rhythm of our tune.'

0:21:570:22:00

OINKING

0:22:000:22:01

-Yeah?

-Yes!

0:22:010:22:04

Love that.

0:22:040:22:05

So, basically, what you've done is linked the pig sound to this

0:22:050:22:09

keyboard so, if we play down the bottom, it's a low pig.

0:22:090:22:12

And if we play at the top, it's a high pig.

0:22:120:22:15

'Now to play the Doctor Who bass line

0:22:150:22:17

'like it's never been played before.'

0:22:170:22:20

HE PLAYS DOCTOR WHO WITH PIG OINKS

0:22:200:22:22

So that's the second most recognisable part

0:22:260:22:28

of the Doctor Who theme tune.

0:22:280:22:30

But the first, of course, is the big melody

0:22:300:22:32

# Oooh-oooh-ooh! # What are we going to use for that?

0:22:320:22:35

We're going to... I think we should use

0:22:350:22:37

one of the pings on the metal bowls.

0:22:370:22:39

'By adding some effects to the original ping, Caro was able

0:22:390:22:43

'to create some incredible sounds.'

0:22:430:22:46

-Oh. Yeah.

-That's great. It is all so space-age.

0:22:460:22:51

It was the perfect sound for the Doctor Who melody.

0:22:510:22:54

Yeah!

0:22:560:22:59

There you go!

0:22:590:23:00

'Of course, Delia's version had many different sounds

0:23:000:23:04

'and we wanted to try to match that.

0:23:040:23:07

'so it was time for the CD rack.'

0:23:070:23:09

It's amazing. Now the physical object has gone,

0:23:120:23:16

I hear that sound as a musical sound or a musical note

0:23:160:23:18

-rather than something coming from an object.

-Yeah.

-That's crazy.

0:23:180:23:24

-Like it. Like it.

-Can you now loop that sound

0:23:240:23:26

so it becomes a constant drone in the background of the tune?

0:23:260:23:31

Yeah. Yeah.

0:23:310:23:32

'What about our recording made with that single note from Delia's

0:23:370:23:40

'original theme?'

0:23:400:23:42

Here's what you actually did in the studio.

0:23:420:23:45

SAMPLE PLAYS

0:23:450:23:47

OINK! OINK!

0:23:550:23:56

'We'd made a good start

0:23:560:23:58

'but producing top quality music isn't easy.

0:23:580:24:01

'It was time to knuckle down.'

0:24:010:24:03

-That sounds really spacey, doesn't it?

-Yeah, that's just what we need.

0:24:030:24:06

'We were adding loops, reverb, echo, feedback and...

0:24:060:24:09

'obnoxious crisp crunching?'

0:24:090:24:12

CHOMP! CHOMP!

0:24:120:24:13

What do you think you're doing over there?

0:24:130:24:15

'Even with my little friend filling his face,

0:24:150:24:18

'we were definitely getting there.'

0:24:180:24:20

'And in a fraction of the time it took Delia to make her tune.

0:24:240:24:28

'But there was something missing.

0:24:280:24:30

'Ah, yes, more animal noises!'

0:24:300:24:32

'It took a bit of persuading

0:24:340:24:35

'but eventually we convinced Caro to add a few more.

0:24:350:24:38

It's like someone stepping on a monkey.

0:24:400:24:43

'And before you could say, "Dalek," we were done.'

0:24:430:24:46

-Hey, there you go.

-Thanks, Caro.

-You're welcome.

0:24:460:24:49

That only took us a day, but it took Delia Derbyshire

0:24:490:24:52

-a month to do the original theme tune.

-That's right.

0:24:520:24:54

It did only take a day but it's been a very long, very tiring day.

0:24:540:24:57

Thank you very much. But do you know what? I think we've nailed it.

0:24:570:25:01

And so without further ado, ladies and gentlemen, the world premiere

0:25:010:25:05

of the Dick and Dom vs Delia Derbyshire vs Doctor Who mash-up.

0:25:050:25:11

DOCTOR WHO THEME PLAYS

0:25:110:25:13

APPLAUSE

0:25:280:25:29

Well done, boys.

0:25:290:25:31

So, our tune was finished. But was it any good?

0:25:320:25:35

-Well, who better to ask than the Doctor himself?

-Well, one of them!

0:25:350:25:38

Our judge today played the doctor for three years,

0:25:380:25:41

battled all manner of crazy enemies, like this weirdo - the Kandy Man.

0:25:410:25:46

I like my volunteers to die with smiles on their faces.

0:25:460:25:51

And he did it all whilst carrying his trusty umbrella,

0:25:510:25:55

oh, and he's now the star of Hollywood blockbuster The Hobbit!

0:25:550:25:58

Yes, it's Doctor turned wizard, Sylvester McCoy!

0:25:580:26:01

Obviously, the Doctor is a very busy man but I think we've tracked

0:26:010:26:04

him down. We've got hold of him. So, Doctor, are you there?

0:26:040:26:07

Hello there, Dick and Dom. I see you.

0:26:070:26:11

-Hello, how are you doing?

-If music be the food of love, play on.

0:26:110:26:16

Give me excess of it.

0:26:160:26:17

DOCTOR WHO THEME PLAYS Wow.

0:26:170:26:19

My goodness! Baah!

0:26:240:26:25

The big question is, cos we've put a lot of hard work into this,

0:26:300:26:32

do you think our version is better than Delia's?

0:26:320:26:36

Well, it is different. It is very sweet. It is very lovely, actually.

0:26:360:26:41

But you can't really beat the original cos that was quite

0:26:410:26:45

-an extraordinary, iconic piece of music.

-Oh.

0:26:450:26:49

-Well, to be fair, he has got a point.

-Yeah. She is the genius.

0:26:490:26:52

She is. Thank you very much, Doctor.

0:26:520:26:54

-Good to see you.

-Bye!

-See you.

0:26:540:26:57

Goodbye. Goodbye, nice talking with you.

0:26:570:26:59

Thank you for the listen to the lovely, sweet music. Aargh!

0:26:590:27:02

So the Doctor, quite understandably, wasn't convinced.

0:27:040:27:08

Maybe he doesn't like pigs.

0:27:080:27:10

So, we've travelled through space and travelled through time

0:27:100:27:13

and made a tune to be proud of. Well, we're proud of it anyway.

0:27:130:27:17

And hopefully Delia would have been proud with the way we made it.

0:27:170:27:20

But what we have found out is that, Delia Derbyshire,

0:27:200:27:23

you were an Absolute Genius!

0:27:230:27:25

Thank you, boys.

0:27:250:27:26

Aaargh!

0:27:300:27:31

-CRUNCH!

-Aargh!

0:27:340:27:35

Bogies!

0:27:370:27:39

It went right through me!

0:27:450:27:47

-Don't wobble it.

-I'm not doing anything.

-Just stand still then.

0:27:470:27:51

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0:27:510:27:55

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