
Photo, above: Delia Derbyshire in the BBC Radiophonic Workshop, with Desmond Briscoe. Photo from BBC Radio 3's web site.
Today, 24 March, is Ada Lovelace Day. On this day bloggers celebrate the lives and careers of women in technology.
In honor of the occasion, please allow me to introduce you to Delia Derbyshire and Daphne Oram, two Englishwomen who in the 1960s bridged the gulf between science and art to create something never before seen or heard in the world, and to Meredith Brooks, one of Australia’s top audio engineers.
Delia Derbyshire
Novelist Lili Wilkinson blogged about Delia Derbyshire and the Doctor last year, and that’s a good inroduction to Delia.
Ron Grainer rightly gets credit for writing the original Dr Who theme tune, but it was Delia Derbyshire who gave it the rollicking spookiness that made the theme so distinctive.
Derbyshire studied mathematics and music at Cambridge. She was a pioneer of electronic music and sound effects. She worked in the BBC Radiophonic Workshop during the 1960s and 70s, using what we now regard as antiquated equipment to produce complex sounds that would be at home in any nightclub or loungeroom today.
Daphne Oram
The Radiophonic Workshop itself owed its existence to another remarkable woman, Daphne Oram, who with Desmond Briscoe persuaded the BBC that it needed an in-house production facility for electronic music and sound effects.

Daphne Oram in the studio - photo from The Guardian
Oram was, like Derbyshire, both a musician and a scientist who used technology in innovative ways. Oram invented a sound synthesis system called Oramics, which enabled the composer to literally draw the parameters (amplitude, frequency, timbre, duration) of the music she was creating. The marks drawn onto synchronised strips of 35mm film; a series of photo-electric cells under the film generated electrical charges which in turn produced sound.
A BBC News article called her the unsung pioneer of techno.
The March 2008 issue of Sound On Sound has a lengthy feature article on the BBC Radiophonic Workshop and the innovators who worked there.
Meredith Brooks
Finally, a word of tribute to Meredith Brooks who with her partner Bill Syratt ran the Soundwarp music engineering studio in Sydney for many years. I met Meredith online in the late 1990s when we both joined the ABC’s Science Matters email discussion list.
Meredith is a woman of good humor and wit. She doesn’t blow her own horn much, but after several years I did discover that she’s one of Australia’s top audio engineers. She and Bill worked on some of Australia’s best-known (rock) music albums.
She also turned out to have remarkable strength of character and spirit: she rarely mentioned the serious illnesses she grappled with in the last several years, except when asking for help with finding practical, useful information about treatment options. Sadly, her beloved Bill succumbed to cancer in 2009.
When I wrote this blog post in mid-2010, the future of the Soundwarp studio was uncertain; Meredith was looking for a new business partner or investor, or perhaps someone to buy the studio outright.
Whatever she decides to do with the business, and whether or not she continues to participate in the online communities we’ve shared, I will always admire Meredith Brooks, both as a successful sound engineer in a business that generally undervalues women’s technical expertise, and as a remarkable human being.