If anyone doesn't know what a BBC live broadcast involves, take a walk down Bedfordbury, the lane at the rear of the London Coliseum, regularly. There's the artic with the van-sized generator to power the tape recorder, two huge BBC 'control' pantechnicons that look as if you wouldn't get much change from a million if you wanted to buy one, then two or three other large trucks, and thick snakes and ropes of cables like fire hoses connecting everything together. Inside they've got the stage and orchestra pit rigged up with mics so sensitive that they can pick up whether the second violin is breathing through his nose or not, and the PR people have found a chair-scraper and a throat-clearer in the audience and they too have been wired with mics, to be faded-up just as the first chord sounds. Every single little nano-hertz of pitch and range, every micro-decibel of distant roof echo is captured. Then they broadcast it on muddy, low-quality digital radio to people in cars whose speakers cost 60p from China.
So when, in relation to making cuts, the BBC choose to broadcast fewer R3 live concerts (hurting the listener) rather than changing the archaic way in which they operate you know they really haven't got the message. If Sky Classic (say) got the job, they'd service it with a transit van and two blokes, and the audible result would be indistinguishable from the BBC's broadcast output.