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"Similarly, musicians learn to play, and learn specific songs, from records, and so 'recording consciousness' helps to explain the ubiquity of non-literate composition methods: 'sheet music is just for people who can't hear' (musician quoted in Bennett 1980, p.139) The structure of this consciousness has been produced by various elements, among them experience of editing techniques, reverberation and echo, use of equalization to alter timbre, high decibel levels, both in general and in particular parts of the texture (notably, strong bass-lines), and, most interestingly, the ' polyvocal ity' created by multi-mike or multi-channel recording. Mixing different 'earpoints' produces a 'way of hearing [that] is an acoustic expectation for anyone who listens to contemporary recordings. It cannot be achieved without the aid of electronic devices. It has never before existed on earth' (ibid, p.119)." (Middleton 1990, p.88)