Editing BBC Radiophonic Workshop (section)

===Early days===
[[File:Detail of Maida Vale Studios - geograph.org.uk - 962915.jpg|thumb|Maida Vale Studios|200px]]
In 1957, Daphne Oram set up<ref>{{cite web|url=http://www.bbc.com/culture/story/20170522-daphne-oram-pioneered-electronic-music|title=The woman who could 'draw' music|website=BBC}}</ref> the Radiophonic Workshop with Desmond Briscoe, who was appointed the Senior Studio Manager with Dick Mills employed as a technical assistant. Much of The Radiophonic Workshop's early work was in effects for radio, in particular experimental drama and "radiophonic poems".<ref>{{Cite book|url=https://books.google.com/books?id=ieMm4_aaZi8C&pg=PA294|title=The Digital Musician|last=Hugill|first=Andrew|date=25 June 2012|publisher=Routledge|isbn=978-1-136-27988-1|language=en}}</ref> Their significant early output included creating effects for the popular science-fiction serial ''[[Quatermass and the Pit]]'' and memorable comedy sounds for ''[[The Goon Show]]''. In 1959, Daphne Oram left the workshop to set up her own studio, the ''Oramics Studios for Electronic Composition'', where she eventually developed her "[[Oramics]]" technique of electronic sound creation. That year [[Maddalena Fagandini]] joined the workshop from the BBC's Italian Service.

From the early sixties the Workshop began creating television theme tunes and jingles, particularly for low budget schools programmes. The shift from the experimental nature of the late 50s dramas to theme tunes was noticeable enough for one radio presenter to have to remind listeners that the purpose of the Workshop was not pop music. In fact, in 1962 one of Fagandini's interval signals "Time Beat" was reworked with assistance from [[George Martin]] (in his pre-[[The Beatles|Beatles]] days) and commercially released as a single using the pseudonym Ray Cathode. During this early period the innovative electronic approaches to music in the Workshop began to attract some significant young talent including [[Delia Derbyshire]], [[Brian Hodgson]] and [[John Baker (Radiophonic musician)|John Baker]], who was in fact a jazz pianist with an interest in reverse tape effects. Later, in 1967. they were joined by [[David Cain (composer)|David Cain]], a jazz bass player and mathematician.<ref name="PierceD82">{{cite magazine|last=Pierce|first=Derek|title=A History Of Electronic Music|url=https://www.muzines.co.uk/articles/a-history-of-electronic-music/4275|magazine=Electronics & Music Maker|date=May 1982|via=Mu:zines |access-date=18 January 2024}}</ref>

In these early days, one criticism{{citation needed|date=September 2012}} the Workshop attracted was its policy of not allowing musicians from outside the BBC to use its equipment, which was some of the most advanced in the country at that time not only because of its nature, but also because of the unique combinations and workflows which the Workshop afforded its composers. In later years this would become less important as more electronic equipment became readily available to a wider audience.<ref>{{cite news|url=https://www.telegraph.co.uk/music/what-to-listen-to/the-women-who-invented-electro-inside-the-bbc-radiophonic-worksh/|title=The women who invented electro: inside the BBC Radiophonic Workshop|newspaper=The Daily Telegraph|date=22 June 2016|access-date=17 April 2017|last1=Hewett|first1=Ivan}}</ref>