Studio Q

One of a series of posts about working at CBC Radio back in the day.

(Here’s some more).

Most of my time on the second floor of the Radio Building was spent in Studio Q.

Studio Q was a news studio. We did The World Report, The World This Weekend, The World at Six, and short four and a half minute long newscasts called Hourlies out of there.*

Like every other facility in the Canadian Broadcasting Corporation’s Radio Building on Jarvis Street, Studio Q was kind of dusty and dingy. It had an analog console, probably a McCurdy, in the control room. Directly behind the technician were a couple of industrial strength quarter inch Studer A810 tape machines. To cue up tape on these beasts the tech would have to turn completely around. Several news items during the newscast would rely on audio from these tapes, so the tech frequently had his/her back to the console.

This Studer A810 has seen better days

This Studer A810 has seen better days

A news editor functioning as show director would sit beside the technician to the right of the console. A glass window separated the control room from an announce booth big enough to accommodate two news announcers. Hourlies and World Report only had one announcer but a show like The World at Six had two. A small recording room to the right of the control room contained four A810s and a second technician whose job it was to take in audio feeds.

About ten minutes before every newscast, the tech at the console would “line up” with a tech two floors below in Master Control using a dedicated phone line. After checking tone to ensure continuity, the tech in Master would relay the time, counting up a few seconds, to ensure that the clock in Studio Q was correct. Shows switched according to a strict automated schedule in Master Control, meaning that if a tech started the news early, the beginning of the show would be clipped.

Shortly after starting at CBC Radio I found myself observing a particularly chatty technician in Studio Q who forgot to line up one newscast. The phone from Master Control rang: a Master Control technician wondering why the news hadn’t started on time. The tech cursed and leapt into action, hitting the news theme, but it was too late. We already had about a minute of dead air. Afterward the Master Control tech phoned back and asked for the tech’s initials, which would be included on the inevitable fault report. My initials were MO (JM was already taken) and they would wind up on a few fault reports over the years.

There was usually a fair amount of excitement in Studio Q before a major newscast such as The World at Six. Providing the most up-to-date news reports meant that reporters often filed their stories at the last possible instant. As soon as a reporter finished recording a “voicer” an editor would appear and snatch the tape from the tech’s hands to prepare it for broadcast. This meant editing out mistakes and inserting a piece of leader tape—tape upon which it was not possible to record sound—before the actual audio to be played back. This would make it easier for the technician to find the item on the tape and cue it up. Sometimes, if it was seconds before the tape was to air, the recording room technician would simply hand the tape to the tech at the console, who would cue it up as fast as possible before whirling around to stab at the “play” button when the news announcer finished reading the intro.

Studio Q wasn’t my first exposure to radio news. Before joining CBC Radio, I’d spent six years off and on announce/operating in private radio. At my first station, CJRW in Summerside, Prince Edward Island, I worked evenings alone hosting a disc show (country on Friday nights and Top 40 on Saturday nights). During the show I was required to read the news every hour on the hour. Before the news I would put on a long song and then go down the hall to rip the news, sports, and weather off the wire machine. Over the previous hour the news wire machine would have spit out reams and reams of cheap yellow paper. It was my job to scan that (sometimes) thirty-seven foot long piece of paper for the information I was looking for. Fortunately, the news always came in distinctive blocks of print that made it easy to find. I would rip off the sections I required and go back to the studio and read it live.

I never read the copy ahead of time. I was a pretty good sight reader and because I was busy hosting a show all alone I didn’t have the time. Usually this wasn’t a problem, but I did get into trouble twice. Once, glancing up from reading the news, I saw my friend Andrew Fortier (visiting me at the station) making a face at me. I immediately burst into a big belly laugh right in the middle of the newscast. Another time I was reading an item about a contest to come up with a name for a new sports dome in Vancouver. After listing several serious suggestions, I came to the suggestion “the Unknown Dome”, which, coming as it did from out of nowhere, struck me as funny, and once again I dissolved into gales of laughter live on air. I giggled my way through the rest of the news.

A few years later I hosted an overnight show at CFCY/Q-93 in Charlottetown.** There, instead of reading the news myself, I used a news service called CKO. I would open up a line and someone in Halifax or maybe Toronto would read the news for me, after which I would resume my hosting duties live.***

Back to Studio Q.

After my stints in private radio I was rather taken aback by all the effort that went into making news at CBC Radio. I didn’t understand why it was necessary to have two people at the console (one operating, the other directing) while a whole other person—sometimes two—read the news. They made it all seem like such a big deal. There was a real sense of gravity. The work wasn’t actually all that difficult for the tech—the serious atmosphere made it feel harder than it was—but we did create quality newscasts.

Still, mistakes happened:

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In between news casts, when not mixing items and taking in feeds, techs would often create a makeshift tape reclaim around the console. Employing pencils as axles, we’d spin the reels with our fingers and easily spool the tape off. Or we’d take a few minutes to see who could cue up tapes the fastest (an experienced tech could do it in less than eight seconds). Or we’d listen to the yarns of older techs such as Studio Q veteran Fred Park, who once warned a couple of us junior techs about a curious phenomenon that we were bound to experience sooner or later: in the middle of a show we’d push a button or flick a switch and at that exact instant silence would descend—dead air, the arch-nemesis of all makers of radio—and it would seem to us as though we had caused the dead air by pushing that button. But in fact it would have nothing to do with us, and a second or later the show would resume as though nothing had happened, because, in fact, nothing had happened, the silence was just a coincidence, somebody had paused in the middle of a thought, un ange est passé. Fred was right—in the years to come I would experience this all the time, and I would like to say that every time it did I thought of Fred, but I can’t, because, well, I didn’t.

It’s no coincidence that the show q (formerly Q) hosted by Shadrach (Shad) Kabangois (formerly Jian Ghomeshi) is called q. When we were trying to come up with names for that show, one of the suggestions on the whiteboard was Studio Q, from which the final name of the show is obviously derived.

It was, at least in part, a deliberate reference to a certain hallowed news studio back in the Radio Building on Jarvis Street.

* At least, I think we did The World This Weekend out of there. (It was a long time ago.) We did some shows, like Canada at 5, out of Studio T across the hall.

** CBC news correspondent James Murray also worked at both CJRW and CFCY/Q-93. We went to high school together; he was one year ahead of me. There was a sign on one of the doors at CFCY/Q-93 when I worked there: please do not prop this door open with useless objects such as Jim Murray’s head. Jim and I are still pals—at least until he stumbles upon that little bit of trivia on this blog.

*** After completing my degree at Ryerson, I applied for a job at CKO. Someone from CKO phoned me up to offer me an interview. I was in the bathroom at the time. “He’s taking a shit,” one of my roommates told the caller. Despite my idiot roommate’s remark, they eventually offered me a job, but it was only part-time, so I declined. Shortly afterward I got the job at the CBC. A good thing, too—CKO went out of business shortly afterward, in 1989.

1 Comment

  1. Keeble McFarlane

    January 22, 2016 at 5:48 pm

    I began working out of Studio Q in 1970, as a temporary news editor (which lasted some eight or nine months until I got a permanent position). The console in those days was an old Northern Electric with rotary potentiometers. The place was populated with Ampex 350 tape recorders, including one linked to what we called a ‘beeper’ phone used to take in reports from reporters and correspondents anywhere in the world. The last tech to work the studio at night would switch the machine over to automatic so that the duty editor could take in reports which came in the wee hours. I worked on just about every program which came out of there, from hourly newscasts to the World at Six and Sunday Magazine. Later on they built a new studio next door — Studio T — which was our first stereo studio in the news department. We used it to put Sunday Magazine on the air, after Sunday Morning displaced Sunday Mag, which was now carried only on the stereo network. We had much fun over the years experimenting with stereo sound gathering and figuring out how to use the medium to enhance our work. I recall one instance in which we were doing an update on military action in Lebanon. Our London correspondent, Hal Jones, had taken a stereo Sony cassette machine with him and sent (by air courier, since we had no international stereo lines yet) a piece he recorded while an Israeli F-16 swooped in from the Mediterranean and shot up some PLO sites in southern Lebanon. It was dramatic and provided a sound picture which would otherwise be impossible to duplicate. And — oh yes — that studio had the first Studer stereo machines, which were the replacements for Ampex machines after the venerable US manufacturer got out of the audio recoding business. Around this time, too, they moved Studio Q across the corridor to where some officers were before, installing new equipment, a new console, new recorders and the latest in studio construction techniques. One further note — in the old Studios Q and T, the floor in front of the console was paved with thin steel sheets, as these were the only surfaces which could stand up to the incessant moving of the chairs. Before that, the building maintenance people had to constantly replace the vinyl tiles which broke up under the constant pounding of the chairs.

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