Extracts from an interview with Delia Derbyshire
'Every programme I worked on was either set in the distant past, the distant future, or in the mind.'
'(on 'Blue Veils and Golden Sands') it was for a documentary about the Tuareg tribe. The Tuareg are nomads who live by bartering- taking salt, I think it was, across the desert. In the piece I tried to convey the distance of the horizon and the...heat haze...and then there's this high, slow, reedy sound. That indicates the strand of camels seen at a distance wandering across the desert. That was made with square waves from an oscillator, square waves put through every effect I could possibly find. Take out all the bass frequencies to leave just the high frequencies. It had to be something out of this world.
'The Radiophonic Workshop was formed by the two people from the drama department and three from music. And drama won.'
'(on 'Ziwizih Ziwizih OO-OO-OO',) it was composed for a scene in this play 'The Prophet' where robots sing a song of praise. It sounds medieval because it was a new religion, and they'd go back to square one and the perfect fifth, as the Greeks did'
(from an interview with John Cavanagh in 1997)