 Later, in 1967. they were joined by David Cain, a jazz bass player and mathematician.In these early days, one criticism 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.