The incorporation of technology into music teaching in schools opens up enormous potential for teachers and pupils alike — but it's not without its problems. Recording Musician aims to provide a platform for the exchange of ideas, whilst also being a valuable source of reference material.

Over the past few years, I've spoken to a great many teachers who wanted to use recording and computer equipment in their school music lessons, but didn't know where to go for guidance or impartial advice. The need for such guidance is more acute now that the use of this technology has been incorporated into the National Curriculum, but the situation seems little clearer. On talking to teachers, the impression I'm currently getting is that 'the powers that be' are providing only vague guidelines on the subject, because being too specific would commit them to budgeting for equipment they may not be able to afford. That leaves schools at the mercy of equipment dealers and, though many offer excellent advice, I know that a number of schools have ended up squandering their hard-won resources on totally inappropriate equipment. The pressure is always to buy something inexpensive, but this kind of short-termism usually costs more in the long run.

Training is another sore point, because a traditional music teacher has an awful lot to learn about recording equipment, MIDI and computers before he or she can use it in the context of teaching. A common complaint is that in-service training is limited to as little as half a day of watching someone else press the buttons — then teachers are on their own. This is patently completely inadequate when you consider the importance and complexity of the technology being discussed.

Many of us at Recording Musician have been using recording and computer music equipment for several years and we're learning new things all the time. Most of us have grown up with the technology as it emerged; having it all dumped on your plate at the same time, with little in the way of guidance or training, must surely be daunting.

As a magazine, we feel that we can offer impartial advice over the choice and use of recording equipment, and we strongly encourage you, the teachers, to write to us with your queries, comments and frustrations. We see Recording Musician as a forum where arguments can be aired and where a dialogue between teachers and equipment manufacturers and suppliers can be set up. Having dispensed with the generalities, in what specific areas can we provide help?

Gear Guidance

We've already mentioned equipment, and in this area we propose to start by looking at the basic equipment needed for multitrack recording and MIDI sequencing. All the jargon will be explained as we go along, and we will start right at the beginning, assuming virtually no prior knowledge of the subject. For example, most people who have used recording equipment realise that you also need an amplifier and loudspeaker system to play back the recording, but I've met teachers who have bought a cassette multitrack recorder only to wonder why no sound came out of it. It is also widely assumed that everyone knows you need a conventional stereo recorder to mix your multitrack tape onto but, again, how can you know if nobody ever told you?

Our writers are all experienced in the practicalities of recording and MIDI, and have been chosen for their ability to put their ideas across in a clear and logical way. We'll go through a typical small-scale recording system from top to bottom and we won't be afraid to make recommendations if we feel that certain machines are more suitable for educational purposes than others. You may not choose the same machine yourself, but at least you'll know what the various features and facilities are for — which will put you in a better position to make an informed decision. We'll also pay attention to oft-neglected areas such as wiring, electrical safety and ease of setting up, as well as tips on general front-line maintenance.

User Friendly

Important though equipment is, a piece of recording gear is just a tool and the really important thing is to know how to use it. Both teachers, pupils and newcomers to recording will benefit from our entry-level 'Sound Workshop' series, which will explore the techniques of music recording and MIDI sequencing in the context of a typical budget system. Very high quality recordings can be made using just a couple of carefully chosen, low-cost microphones and a domestic hi-fi cassette deck, so even those on very tight budgets can explore the fundamentals of microphone technique right from day one.

For the more advanced user, we'll be running a 'Masterclass' series, which will encompass such areas as professional microphone techniques, and the applications of more sophisticated equipment such as digital effects units and signal processors. Though the subject matter may be quite advanced, we'll strive to explain everything in plain English, so that anyone, at any level, can learn something to their advantage. These series will be augmented by revealing interviews with recording engineers, musicians and record producers; we'll not only be asking them to reveal the tricks of their trade, but also to give us some insight into career opportunities in their particular area of the audio industry.

Over To You

Most importantly, we need feedback from yourselves. We need to know your specific problems and restrictions in order to respond in the most useful way, and if there's any area you think needs more coverage, just pick up a phone, send us a fax or write and tell us. The technology of music production crosses the boundaries of all the main areas of education and is far too important a topic to be neglected. With your help, I'm certain we can turn what is seen by many as a problem area into a distinct educational opportunity.