sales@effectrode.com

  • About Us
  • Knowledge Base
    • Tubes
    • Pedals
    • Science of Tone
    • Binson Echorec
    • History
    • Quality
  • News
  • Press
  • FAQ
  • Vacancies
  • My Account
  • Login
logo
  • Store
  • Stockists
  • Artists
  • Contact
  • | Newsletter
  • Store
    • Accessories
    • Pedals
    • Vacuum Tubes
  • Knowledge Base
  • Stockists
  • Artists
  • Contact
  • FAQ
  • About
  • News
  • Press
  • Newsletter
  • 0

    Shopping cart

    0
    Cart is Empty

The Bass-line Continuum: Deconstructing the Doctor Who Bassline

  1. HomeKnowledge BaseThe Bass-line Continuum: Deconstructing the Doctor Who Bassline

The Bass-line Continuum: Deconstructing the Doctor Who Bassline

by Phil Taylor

Delia Derbyshire was way ahead of her time. Back in the early 1960s, on a whim, she invented techno (electronic dance music), decades before it became mainstream. The girl sure knew how to groove. At around the same time she interpreted composer Ron Grainer‘s score for the ‘Doctor Who’ theme, adding a deep, pulsing ‘slap-bassline‘, proving beyond all doubt that avant-garde electronic music could be astoundingly cool. Grainer had scribbled down notation for the bass and melody, along with a rough guide describing the instruments and special sound effects on a single sheet of A4 paper: that was it. He’d intended a band to play the music and the BBC Radiophonic Workshop to provide the sound effects. Miss Derbyshire, however, had her own plans.

Deconstructing the Doctor Who Bassline

She set about creating a radical, all-electronic interpretation of the theme—a menacing bassline on top of which floated a shimmering, ethereal melody and ghostly sound effects—that sounded like nothing on Earth. And it still does. It’s almost as if Derbyshire had stepped out of a battered blue police box, bringing back strange, new musical knowledge from the future: How did she do it? Create that bassline?

Lost Sounds

Well, there are many fascinating theories and opinions floating around: stories of an old piano string strung between two nails on a block of wood; an elastic band stretched over wooden box; and modified stringed instruments, such as autoharps and zithers. Not even Derbyshire’s contemporaries, who worked closely alongside her within the BBC Radiophonic Workshop, are able to provide consistent explanations. In a Sound on Sound interview in 2008 Dick Mills, who assisted Derbyshire in a technical capacity, says, “We started with the bass line. You know those 19″ jack-bay panels? You could get blank panels too, to fill in between them. They were slightly flexible, so Delia found one that made a good musical twang and played it with her thumb. We recorded it then vari-speeded up and down to different pitches, copied them across to another tape recorder, then made hundreds of measured tape edits to give it the rhythm.”. Sounds plausible; steel is stiff and elastic, meaning the panel could vibrate just like a guitar string. However, in another BBC interview Mills describes to Mark Ayres (BBC Radiophonic Workshop archivist) how Derbyshire plucked a single guitar string, “on a piece of metal channelling that Delia twanged”, whatever that means.

19" rack-mount vacuum tube amplifiers, patchbays and other audio rack equipment in the BBC Radiophonic Workshop.
Rack-mounted vacuum tube amplifiers and patchbays at the BBC Radiophonic Workshop: Could this be where Delia Derbyshire 'found' the sound for the Doctor Who bassline?

These accounts are irregular and sparse at best. They can’t all be true, and it’s possible none of them are. It’s possible Mills wasn’t entirely sure what Miss Derbyshire was up to whilst she was working the graveyard shift and captured that ‘found’ sound for the bassline on magnetic tape. If only someone had kept detailed notes. But this all happened a long, long time ago. At the time, in 1963, Doctor Who was just another television drama that looked like it would only run for a few episodes, and Mills and Derbyshire were a couple of young technicians just trying to do their job, to a tight deadline; they didn’t have time to write a thesis along the way.

“If a sound exists already in real life say, we can go and record it.” — Delia Derbyshire

The origin of the sound Delia used to build the Doctor Who bassline is an enigma. But it was real—it did exist—and if it existed it can be rediscovered. After so long it doesn’t seem likely that sound will be found by simply sifting through the tales of BBC sound technicians or poring over the handful of grainy black and white photographs of the darkest, gloomiest recesses of the Radiophonic Workshop. What’s needed is some hard evidence. The time has come to wheel out the scientific method and do some ‘reverse engineering’: see if we can work backwards from Doctor Who theme music to isolate and reconstruct the original sound of the bass note.

Tone And Relative Dimensions In Space

Below is an isolated sound sample a single note (E) from the Doctor Who bassline.

https://www.effectrode.com/wp-content/uploads/2023/03/doctor_who_bass_note_normal_speed.wav

The sample isn’t immediately recognisable as a plucked nylon, steel, acoustic, electric or bass guitar string. Nor does it sound like any kind of traditional western orchestral stringed instrument, such as violin, cello or harpsichord; and it doesn’t resemble ethnic instruments, such as sitar, zither or Ukrainian bandura either. Maybe it’s not a plucked string, maybe the sound really was made by plucking a 19″ rack panel as Mills describes. But what would that sound like? A deeper analysis is needed.

When a string is plucked it vibrates and generates sound. This sound is made up from series of harmonics consisting of the fundamental and overtones that are mathematical multiples of the fundamental. Depending on the type of instrument, the material the string is made from, it’s length, thickness, mass, where and how hard it’s plucked affects the distribution and relative amplitudes of these harmonics, in short its pitch and timbre. The harmonic information contained within a natural sound, such as squeaky door hinge, a ‘Coolicon‘ metal lampshade, or a plucked string, is complex, so complex that it’s like a unique signature.

The human ear is able to decode this signature and determine what made the sound, for instance, identify an instrument when a note is played on it. The ear is extremely good a this game and is not easily fooled; it has a remarkable ability to discern whether a sound is artificial or natural. Think about the considerable research and development effort Yamaha, Korg and other electronic keyboard manufacturers have ploughed into synthesising the sound of a piano over the decades: It costs a lot of money to trick the ear into believing synthesised sound is real.

But this bass note from Doctor Who has got people fooled, somehow. A visual analysis might help reveal something of its nature so let’s take a look at its frequency spectrum.

Frequency analysis of single bass note from the Doctor Who Theme.
Frequency analysis of single bass note from the Doctor Who Theme.

The graph above shows a fast Fourier frequency analysis of this single note. It can be seen that the note is composed of the fundamental at 83Hz—the same pitch as the bottom E string of a guitar—as expected and is also rich in additional harmonic overtones; 2nd (166Hz), 3rd (246Hz), 4th (332Hz), etc. All these lower harmonics are markedly pronounced and the 8th harmonic at 664Hz is particularly strong; it’s practically the same amplitude as the fundamental. There are also two strong higher order harmonics between 1.2KHz and 1.5KHz making for an interesting sound with lots of texture. But was it generated by a string?

Well, the even spread of harmonics are a good match for the signature of a string. As discussed earlier a plucked string generates a fundamental, plus 2nd, 3rd, 4th, 5th, etc harmonics. Those signature harmonics all there, except the relative amplitudes are not as expected; there’s a strong emphasis on the 2nd, 4th and 8th harmonics. Curiously, these are all octaves above the fundamental; in a plucked string the harmonics typically fall off gradually in amplitude with increasing frequency as shown below.

Frequency analysis of a plucked 'E' string on an electric guitar
Frequency analysis of a plucked 'E' string on an electric guitar.

The graph above shows two overlaid frequency analysis plots for a plucked ‘E’ string on a Fender ‘Stratocaster’ electric guitar. The plot in ‘black’ is an analysis of the guitar string plucked at the twelfth fret and the ‘grey’ plot represents a more assertive twang of the string close to the bridge. When plucked gently at the twelfth fret the fundamental dominates and the harmonic overtones dwindle in amplitude with increasing frequency. The sound is mellow and plumy:

https://www.effectrode.com/wp-content/uploads/2023/03/plucked_electric_guitar_string_12th_fret.wav

The high frequency harmonic content is significantly lower than that of Derbyshire’s bass note suggesting that she wasn’t plucking the string in the middle, but was indeed giving it, “a good musical twang and played it with her thumb” as Dick Mills describes. Guitarists are well aware that the tone, or timbre, of a string changes depending where it’s played on the guitar neck; playing closer to the bridge creates more ‘bite’ and emphasises high frequency harmonic overtones. The plot in ‘grey’ represents a good twang of the string at the bridge and sound like this:

https://www.effectrode.com/wp-content/uploads/2023/03/plucked_electric_guitar_string_bridge.wav

Plucking near the bridge generates more pronounced overtones because it sets the string vibrating at higher resonant frequencies. But that 8th harmonic overtone is still too low; not only that, the 2nd, and especially the 3rd, are now stronger than the fundamental. Further, neither of the guitar string plucks sound like the Doctor Who bass note, and their frequency analysis confirms this. It seems we’re still missing some vital clue, some part of the process.

Something must be supplying additional energy to accentuate the 8th harmonic, but what? Well, the harmonic content could have been manipulated electronically using analogue filters to boost gain, say in the region of the 4th and 8th harmonics. Or the sample could have been repitched by doubling the tape speed, rerecording it to create a pitched-shifted version—one octave higher—and then mixing back into the original. But the problem with all this electronic post-processing is that it adds noise.

Background Noise

Given the equipment used and recording process used, the audio quality of the bass note sample from the ‘Doctor Who’ theme music is quite good, however tape hiss is audible in the background. Tape hiss is high frequency random noise that’s intrinsic to the recording medium. It’s also cumulative; the hiss on the sample being an amalgamation of noise on the tape it’s recorded on, plus noise introduced when playing the sample at a slower speed (to alter the pitch) and rerecording to make tape loops, plus noise added when from when mixing the bass track down with the melody and other tracks onto the the final master tape.

And, it just doesn’t make sense to take the sound made by plucking a common, run-of-the-mill string and then post-processing to sculpt it into something more interesting. Where’s the inspiration coming from in this process? Surely it’s more likely Derbyshire would have started with an interesting ‘found’ sound as a basis for the bass note. This ties in with Mills’ explanations, both of which recount the use of, “19″ jack-bay panels,” and, “metal channelling”.  Further, Mills more recently expanded on this with, “A simple steel wire was tensioned along the length of a standard 19” blanking plate from a jackfield bay,”. According to Radiophonic Worksop technician, Brian Hodgson, “Dick (Mills) is the only person who would really know.”.

So, could it be that Derbyshire was exploiting the resonant properties of a metal panel to amplify and modify the timbre of the string in the same way that a soundboard does on an acoustic guitar—accentuating frequencies in the region of the 8th harmonic acoustically, rather than electronically? This seems a more realistic proposition and, technically, it should work. It’s easy to imagine how Derbyshire could have removed the front or top panel from one of the Radiophonic Workshop’s 19″ rack equipment cabinets and stretched a guitar or piano string between the two side panels. The base, sides and/or front panel would have acted as a soundboard and a microphone placed in proximity to the panel to capture the sound.

To have any significant effect the level of that 8th harmonic the rack panel(s) would need to have a resonant frequency at, say, around 650Hz. Now, a panel with a finite boundary will vibrate at a fundamental frequency (and at mathematically related harmonics of the fundamental). If the panel is flat and rectangular—19″ rack panels normally are!—and the thickness and material it’s made from are known we can determine its resonant frequency using the formula below:

Fr = 0.45 × vl × t × ((r/w)² + (r/h)²)

For example, the resonant frequency of a 1¾” high 1U rack panel can be calculated where, vl is the longitudinal velocity of sound in the panel = 5960m/s for steel, t is the panel thickness = 1.5mm (0.0015m), w and h are panel’s width (19″ = 0.483m) and height (1¾” = 0.044m) and r is harmonic number (1 gives the fundamental frequency, 2 gives the 2nd harmonic, etc).

Fr = 0.45 × 5960 × 0.0015 × ((1/0.483)² + (1/0.044)²) = 2095Hz

The calculated frequency is substantially higher than the 650Hz needed to excite the 8th harmonic, however if the base and sides of the panel are added into the equation they will lower the resonant frequency. Taking a standard 1U rack shelf of width: 48cm and depth: 21cm:

Fr = 0.45 × 5960 × 0.0015 × ((1/0.48)² + (1/0.21)²) = 110Hz

Now the calculated resonant frequency of the panel is far too low. At this point it’s tempting to begin arbitrarily tinkering with different panel dimensions until the desired frequency pops out of the equation. But there’s no need to resort to such result fiddling, yet. Keep in mind Derbyshire and Mills repitched, slowed or sped up, the Doctor Who bass note by some amount. This would have also altered the estimated 650Hz panel frequency—whether it was pitched up or down is impossible to determine from our calculations as the answers lie above (≈2KHz) and below (≈100Hz) this. The time has come to try and replicate what Derbyshire did with a string and panel—basically build it and see.

String Theory

A guitar string—which can be thought of as a one-dimensional object because it only possesses the dimension of length—will vibrate when plucked. The frequency at which it will vibrate (the fundamental harmonic) can be calculated with the formula on the right, where T = string tension, m = string mass, and L = string length. If the length, mass and tension of the string are known then the pitch of the string can easily be calculated. This simple formula can also be used to calculate the frequencies of harmonic overtones, but it cannot provide any information about their relative amplitudes, or their decay due to energy loss (damping) in the string as it vibrates. Finally, on a philosophical note, it would be wonderful if these equations could be worked backwards to deduce the physical dimensions of a string from it’s harmonic signature. But this isn’t possible, simply because adjusting the variables—string tension, length and mass—relative to one another means there are multiple solutions to the equation that yield the exactly the same calculated frequency.

Time Dilation-Expansion

however, at this point, let’s focus on the relationship between the string and the panel; the effect the panel is having on the harmonic content of the string.; this is determined by their relative dimensions.  If, for the moment, let’s

It might be easier to identify the sound if the sample were returned to its original true pitch; pitch the sound up until it sounds ‘right’. Technically it’s easy to speed a sound up or slow it down digitally, but it’s not do easy to know which way go and by how far. We can experiment by adjusting the speed and hope that the sound begins familiar at some point.

Our case is somewhat different. Even if we successfully return the sound to it’s original pitch, the analysis process is being run backwards. and geometry of the object that generated that sound, however there are too many variables and uncertainties to get an answer. digitally pitch-shifting, time stretching, filtering a sound sample of the bass. Attempting to restore it to it’s original pitch then deduce what the object was that made that sound. Trying to imagine the shape and geometry of the material that generated that sound.

The challenge is to determine how far this bass note was slowed down from its original pitch or a vari-speed copy which has been substantially slowed down.

Normal speed

https://www.effectrode.com/wp-content/uploads/2023/03/doctor_who_bass_note_normal_speed.wav

2X speed

https://www.effectrode.com/wp-content/uploads/2023/03/doctor_who_bass_note_double_speed.wav

Half speed

https://www.effectrode.com/wp-content/uploads/2023/03/doctor_who_bass_note_half_speed.wav

Sum of Parts

The bassline is the backbone of the Doctor Who theme, driving it headlong like a runaway steam locomotive thundering along an endless, unknown tunnel. For detailed look on the music score itself it’s definitely worth taking a look at “The Definitive Guide to the Dr Who Theme Music”. The theme is built up from the bassline and several other tracks.

  1. The plucked string bassline
  2. The plucked bass is emphasised on the beat with an electronic oscillator slide tone
  3. Filtered white noise swishes and swirls that sound like steam
  4. The main melody played on a sinewave oscillator with a lot of reverb
  5. This is augmented with some higher harmonics

The original composition is 2 minutes and 19 seconds duration and is constructed from hundreds and hundreds of tape splices. The bassline itself is made up of pitch-shifted samples of the original plucked string recorded on small loops of magnetic tape. These would have been made in bulk, probably by Mills, and then hung on the walls of the workshop so they were ready for use later. It was very challenging to keep count of all the tape splices and when it came to mixing the final composition Mills and Derbyshire noticed a timing discrepancy between tracks. Mills describes this, “Eventually, after some pre-mixing, the elements of the entire composition existed on three separate reels of tape, which had to be run somehow together in sync. we had a bum note somewhere and couldn’t find it! It wasn’t that a note was out of tune—there was just one little piece of tape too many, and it made the whole thing go out of sync. Eventually, after trying for ages, we completely unwound the three rolls of tape and ran them all side by side for miles—all the way down the big, long corridor in Maida Vale. We compared all three, matching the edits, and eventually found the point where one tape got a bit longer. When we took that splice out it was back in sync, so we could mix it all down.”

The Workshop did own a Leevers-Rich multi-track machine, however Derbsyhire deemed it to be of lousy sound quality, so all recording and mixing was performed on the three Philips EL-3503 machines, “Crash-syncing the tape recorders was Delia’s specialty,” says Mills. “We had three big Philips machines and she could get them all to run exactly together. She’d do: one, two, three, go!—start all three machines, then tweak until they were exactly in sync, just like multi-track.”

“They kept on tarting it up out of existence!” — Delia Derbyshire

The theme for Doctor Who has a certain visceral and dark quality to it—as if it’s some kind of strange, live performance played with an odd or peculiar musicianship on unknown, alien instruments. It doesn’t seem possible that the final recording was actually the result of painstakingly and meticulously piecing together magnetic tape fragments inch by inch by inch from magnetic tape fragments in a purely electronic environment. Even fifty years later the original theme still sounds cutting-edge, haunting and even terrifying. Derbyshire had created something timeless and unique—a soundscape that had never existed before. And it’s certainly aged more gracefully than the countless rehashed, semi-self-plagiarised, over-produced reinterpretations successive producers commissioned in a vain effort to stamp their mark on the show: “tarting it up” as Delia put it. They tried adding extra musical sections, delay and feedback effects, then later pasting layers of the latest synth pads or heavy-handed orchestrations on top of the original recording. Every attempt to manufacture an improved version with a ‘fresh’ new sound (a term often used by these kind of people) fell short of Delia’s original realisation, effectively burying a masterpiece beneath layers of gaudy tinsel and cosmetic glitter.

The Price of Art

Ron Grainer was astonished by what Delia Derbyshire had achieved in interpreting his score electronically. Upon returning from holiday, just two weeks after leaving his sparsely scribbled score with her, he exclaimed, “Did I write that?”, to which Delia replied, perhaps with some irony, “Most of it.”. But Grainer wasn’t just surprised, he was delighted—in Derbyshire’s own words, “He was tickled pink!”. He saw no need to change what she’d created (he had planned to add orchestration): her realisation of the theme was complete in its own right, and it was was electric!

‘I can’t believe you’ve been able to do this! I want you to have half of my royalties.’ — Ron Grainer

Derbyshire’s Radiophonic Workshop colleague and friend, Brian Hodgson said, “Doctor Who was the big milestone. Suddenly they became aware that it wasn’t just funny noises, that you could actually make music with it as well.” The Doctor Who theme was proof that electronic and sampled real sounds (musique concrète) could be used to create a ‘proper’ piece of music. Delia had not only created something special, she’d made a breakthrough, bringing electronic music into the mainstream. Grainer was so taken with what Delia Derbyshire had achieved he considered it was only good and right she be credited as co-composer. But this view was not shared by the BBC. They had a strict policy that any creative output from Radiophonic Workshop staff should remain anonymous, which meant Derbyshire did not receive any credit for composing the Doctor Who theme. In Radiophonic Ladies Interview in 2000 she recalls, “I was just on an assistant studio manager’s salary and that was it… and we got a free Radio Times.”

“Ron wrote it and Delia made it magic.” — Mark Ayers

This seems more than unjust, especially given her creation is one of the most iconic themes in television history. Her music was so foreboding, so terrifying that it had millions of kids scuttling to hide behind living-room sofas before the action had even begun. It set the scene, making a shaky, low budget sci-fi drama seem not only credible, but transformed the show into something much more than it actually was

Along with her other work, her theme inspired and influenced electronic dance avante garde bands such at Orbital, The Chemical Brothers and Pink Floyd—’One of These Days‘, the opening track on Floyd’s 1971 album ‘Meddle‘, echoes the theme about three minutes into the track. Further, it’s one of the longest continually used pieces of theme tune music. There have been countless reinterpretations, remixes, band cover versions and use in BBC and independent film documentaries. But performance rights came at a price. In 2013 musician, Kara Blake tacitly pointed out that rights to use Derbyshire’s work were, “Not easily or inexpensively” obtained. Blake wanted to include a sample of the Doctor Who theme in her Film Board of Canada-sponsored film ‘The Delian Mode’. The BBC quoted her the sum of $1000 per second—at 15 i.p.s. that’s $1000 for 15 inches of magnetic tape. One can only guess as to how much revenue that short piece of music generated over it’s sixty year life: Delia received not one penny of those profits.

45rpm 7" single
Delia Derbyshire never received credit or royalties for her work in creating the 'Doctor Who' theme.

For Delia, her the work was a labour of love. She’d work late into the night, sometimes for weeks on end to complete a composition. She was an asset to the BBC; an incredible creative talent. She elevated the art of music concrete, breathing life into common everyday sounds to create something magical… out of almost nothing. She was one of a kind who resolutely pursued her own path—going against the grain, whenever the mood took her—to compose music that’s proved far-reaching and influential. Before Delia Derbyshire electronic music had a reputation for sounding harsh, even ugly—she proved beyond all doubt that it could also be unimaginably beautiful.

In This Section

  • “Sylvania” During 50 Years 1901-1951
  • A Kind of Loving – film scenes from inside the Mullard Blackburn Factory
  • A Little Vibe History
  • Anatomy of a Musical: An Analysis of the Structure of Jeff Wayne’s Musical Version of The War of the Worlds
  • British Rock Guitar Veteran – Robin Trower
  • Custom Work
  • Delia Derbyshire: Recording the Future
  • Delia’s Tatty Green Lampshade
  • History of Delay
  • History of the Binson Amplifier HiFi Company
  • Louis Barron: Pioneer of Tube Audio Effects
  • Making of the Doctor Who Theme Music
  • Mercury Rising: Making a Tube Fuzz
  • Microphonics
  • Mullard Fleetwood: Landmark Building Earmarked For Flats
  • Mullard’s Empire of Rust…
  • Music Gear Source Interview
  • Radiophonic Ladies interview
  • Speed, Efficiency & Perfection – Aims That Have Built a Mammoth Factory in 16 Years
  • Thanksgiving Is Sylvania’s Lucky Date
  • The 12AX7 Tube – The Cornerstone Of Guitar Tone
  • The Bass-line Continuum: Deconstructing the Doctor Who Bassline
  • The First Electronic Filmscore-Forbidden Planet: A Conversation with Bebe Barron
  • The Self-Destructing Modules Behind Revolutionary 1956 Soundtrack of Forbidden Planet
  • Ticked off with Tremolo?
  • VIEWPOINT WITH MULLARD
  • Who is Phil Taylor?
logo
+44 (0) 1782 372210 sales@effectrode.com
facebook instagram twitter pinterest rss soundcloud
Newsletter

Useful Links

  • Shipping Policy
  • Refund Policy
  • WEEE Policy
  • Privacy Policy
  • Warranty Policy
  • Register Your Pedal

Instagram

Copyright © 1963-2022 EFFECTRODE THERMIONIC. All Rights Reserved.
We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. By clicking “Accept All”, you consent to the use of ALL the cookies. However, you may visit "Cookie Settings" to provide a controlled consent.
Cookie SettingsAccept All
Manage consent

Privacy Overview

This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary
Always Enabled
Necessary cookies are absolutely essential for the website to function properly. These cookies ensure basic functionalities and security features of the website, anonymously.
CookieDurationDescription
_GRECAPTCHA5 months 27 daysThis cookie is set by Google. In addition to certain standard Google cookies, reCAPTCHA sets a necessary cookie (_GRECAPTCHA) when executed for the purpose of providing its risk analysis.
cookielawinfo-checkbox-advertisement1 yearSet by the GDPR Cookie Consent plugin, this cookie is used to record the user consent for the cookies in the "Advertisement" category .
cookielawinfo-checkbox-analytics11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Analytics".
cookielawinfo-checkbox-functional11 monthsThe cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional".
cookielawinfo-checkbox-necessary11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary".
cookielawinfo-checkbox-others11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other.
cookielawinfo-checkbox-performance11 monthsThis cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Performance".
JSESSIONIDCookie used to allow the Worldpay payment gateway on the website to function.
machineCookie used to allow the Worldpay payment gateway on the website to function.
viewed_cookie_policy11 monthsThe cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. It does not store any personal data.
wordpress_logged_in_Users are those people who have registered an account with the WordPress site. On login, WordPress uses the wordpress_[hash] cookie to store your authentication details. Its use is limited to the Administration Screen area, /wp-admin/ After login, WordPress sets the wordpress_logged_in_[hash] cookie, which indicates when you’re logged in, and who you are, for most interface use. WordPress also sets a few wp-settings-{time}-[UID] cookies. The number on the end is your individual user ID from the users database table. This is used to customize your view of admin interface, and possibly also the main site interface.
wordpress_sec_1 yearProvide protection against hackers, store account details.
wordpress_test_cookieTest to see if cookies are enabled.
wp-settings-1 yearWordPress also sets a few wp-settings-{time}-[UID] cookies. The number on the end is your individual user ID from the users database table. This is used to customize your view of admin interface, and possibly also the main site interface.
Functional
Functional cookies help to perform certain functionalities like sharing the content of the website on social media platforms, collect feedbacks, and other third-party features.
Performance
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
CookieDurationDescription
_gat1 minuteThis cookie is installed by Google Universal Analytics to restrain request rate and thus limit the collection of data on high traffic sites.
Analytics
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc.
CookieDurationDescription
_ga2 yearsThe _ga cookie, installed by Google Analytics, calculates visitor, session and campaign data and also keeps track of site usage for the site's analytics report. The cookie stores information anonymously and assigns a randomly generated number to recognize unique visitors.
_gid1 dayInstalled by Google Analytics, _gid cookie stores information on how visitors use a website, while also creating an analytics report of the website's performance. Some of the data that are collected include the number of visitors, their source, and the pages they visit anonymously.
Advertisement
Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads.
CookieDurationDescription
mailchimp_landing_site1 monthThis cookie is used to keep track of newsletter sign ups and client emails at checkout, Mailchimp utilises cookies to store information captured from user input for remarketing purposes.
mailchimp_user_email1 monthThis cookie is used to keep track of newsletter sign ups and client emails at checkout, Mailchimp utilises cookies to store information captured from user input for remarketing purposes.
mailchimp_user_previous_email1 monthThis cookie is used to keep track of newsletter sign ups and client emails at checkout, Mailchimp utilises cookies to store information captured from user input for remarketing purposes.
mailchimp.cart.current_emailThis cookie is used to keep track of newsletter sign ups and client emails at checkout, Mailchimp utilises cookies to store information captured from user input for remarketing purposes.
mailchimp.cart.previous_emailThis cookie is used to keep track of newsletter sign ups and client emails at checkout, Mailchimp utilises cookies to store information captured from user input for remarketing purposes.
Others
Other uncategorized cookies are those that are being analyzed and have not been classified into a category as yet.
CookieDurationDescription
woocommerce_recently_viewedsessionDescription unavailable.
SAVE & ACCEPT
Powered by CookieYes Logo