16 tracks and that's your lot: the joys of analogue at one of the oldest studios in Birmingham

Recording studios #3: It takes a special kind of enthusiasm to run - and to record at - a seriously retro recording studio. But it seems to be working at Highbury.

Where does an analogue recording studio, stocked with vintage 80s kit, like a reel-to reel multitrack tape recorder, fit in our relentlessly digital age ? 

Like so many 20th century technologies, the accepted norm has been savagely upended by digital technology. The bottom end of the market has been eaten by laptops running free software, while the top end is left to at Air or Abbey Road - see here for more on this. Studios left in the middle have had to become nimble and, sometimes, specialised. 

There are, of course, different ways to specialise. John Mostyn runs Highbury Studio, one of the oldest studios in Birmingham; one that is cheerfully old-school in its approach. Built by Bob Lamb on producer royalties from UB40’s 'Signing Off' album, it sits happily in a onetime cricket bat factory, in a quiet side street in King’s Heath, Birmingham. John lives, literally, over the shop. It’s a unique place. 

Budgets, cash flow and creativity

There’s been huge coverage of the jobs lost at commercial radio over the past few weeks. If you want to get up to speed on this, check the Guardian’s pages here. I feel desperately sorry for the several hundred people who will now be leaving the industry they love, some of whom have been hard at work for decades.

Of course, the business rationale is that in a recession, commercial radio needs to find ways to shoulder the extra burden of digital transmission costs, and provide better services to attract listeners to digital. I hear the transmissions costs argument loud and clear, but I’m not going to even discuss issues like ‘quality of output’ now that stations are turning into brands – it’s a pointless exercise.

But there’s a lot of point in thinking about how things can be done convincingly on low budgets. Two weeks ago, I participated in a TV show, hosted by the excellent Apache Indian (check his Wikipedia entry here) from his Corporation Street venue, Apache’s Bar. It was carried on BritAsia, Sky channel 833. He does this monthly. Apache laid on a live band (jazz horns and dhol rhythm section), an audience with things to say, and a key topic – why does radio not do more to support local talent? I was there to talk radio, of course. Interestingly, I was the only guy who turned up from my section of the media; others were invited. Funny, that. And there were only two points I could make.

Firstly: I was not going to defend the indefensible. Radio’s move from local to corporate is soul-crushingly awful for musicians making their way in the world and looking for some exposure.
Secondly: But, hey, radio be damned; great music will find always find a way to its audience, and the better it gets, and the more the audience buys in, the more radio has to acknowledge this. I’ve lost count of the number of times I’ve seen radio scramble to catch up with music developments it can no longer begin to control. So.... if you're a musician, get great. Simple.

But those points are tangential to this post. The fact is that Apache delivered a credible, engaging show on a minuscule budget. The same applies all over the country at community radio level. What you need, always, are clearly thought out ideas that your audience will engage with. What you don’t necessarily need is expensive kit.

Still on this topic: I’m just coming to the end of a month-log schools educational project. The equipment we were promised has yet to materialise, through no fault of the school. So we’ve been improvising, using borrowed kit, pressing unexpected tools into service, and working on ancient computers running the excellent and free open source Audacity editing software. Although we’ve had to adapt and revise a fair amount, at no point in the project have these limitations blocked the flow of ideas, and some of these ideas have been belters. I’ll blog separately about this in a week or so, when the project reaches its conclusion.

The best programming approaches, like the best ideas, come for free. They are the results of clear and focussed thought. And often – not always, but often - that clear and focussed thought flourishes best where it won’t be stifled by large corporate structures. If you’re in a tiny operation with zero budget, you may be blessed with a creative freedom you could look back on fondly in future years.

Future of Local Radio???

Stop press - this post seems to have gone modestly viral. BIG response. I'm pleased.

I was the keynote speaker at Creative Networks last night. Brilliant, interested audience of students and practitioners. I gave a seemingly bleak overview of the state of UK radio and the shrinking opportunities for creative work, as cuts continue to bite at the BBC, and the commercial sector continues to strip jobs out, and ramps up automation and networking. All is not lost, however – in fact, all is never lost, if you approach things the right way.

Bullet points after the jump. 

Digital Nirvana...not quite here yet

I posted a few months back about the Digital Britain report.

The bottom line was that the expected 2015 date, by which the big Radio boys in UK radio would move from Analog transmission to Digital, leaving FM to small-scale and community stations, was hoplessly unrealistic. And from a report published in the Guardian on the 26th, it looks like I was right. It may be ten years before the FM band is reinvented as a home for community and small-scale radio.

The 2015 switchover target is only going to be adhered to if 50% of Radio listening is on Digital by then, and right now, that seems highly unlikely. There's a mass of detail in the Guardian piece, and if you care about small-scale radio, as I do, it's a worthwhile read.

What jumped out to me is the statistic that there are at least 100 million FM radios out there. But I think there are a lot more than that. They're in your car, on your stereo, in your phone, on your mp3 player, not counting that plain old transistor radio you may still be using. They're all portable and easy to use, and they all came (sort of) for free, or really cheaply. On the other hand, my single Digital Radio is neither cheap nor portable - it's plugged into the mains - and it's prone to having to be rebooted occasionally, and can give me really crappy signals - 5 live has been particular iffy of late.

Not really an incentive to go out and get another one, it it? All those supposedly hot new digital services don't count if you can't enjoy listening to them. You can't blame listeners for sticking with the durable, proven, and solid FM band.

So now they're talking about, maybe 2016, maybe 2020 before the big switchover. I think it's a damn shame for all parties - but especially for the small-scale stations. That's the independent stations, the small local stations, the community stations who want to simulcast on the web and on FM, or who want to step up their power just so a larger audience can help them survive.

Radio is desperately in need of fresh innovative ideas to pull in new and young audiences. Those ideas normally come from left-field, the same way new music always comes in from left-field. So we need the left-field sector to flourish, to get more professional without getting more corporate, so it can play host to some programming innovation. I was kind of optimistic about a five year gap before the smaller stations can get a level playing field. But it looks like that was too good a target to hold up.