There, he learned the play the organ, then transferred to the University of Bristol in 1966 to study electronic engineering,[3] a decision made easier because he was "hopelessly infatuated with an astonishingly pretty girl from my social group at home who'd gone up the year before.
[3] Compton was "on its last legs", according to Blyth, and he left to join Graseby Instruments where he designed electronic filters for underwater weapons to satisfy Admiralty contracts.
[5] Blyth spent evenings at Kelsey's Notting Hill flat helping him assemble a large mixing desk, one used by Emerson, Lake & Palmer at the "legendary" Isle of Wight Festival 1970.
[5] In early 1971,[5] Blyth formally joined Kelsey & Morris where he assisted in designing and fabricating mixing consoles and loudspeakers for bands such as T. Rex, Ten Years After and King Crimson.
[7][8] After learning the basics of mixing console electronics, he joined Paul Dobson and Phil Dudderidge who had formed Rotary Speaker Developments (RSD),[8] a company that built custom public address systems for bands such as Roy Wood's Wizzard, and Steve Harley & Cockney Rebel.
[9] In September 1973, Dudderidge and Blyth formed Soundcraft Electronics, Ltd.,[3][10] based at Fender Soundhouse on Tottenham Court Road in London, "right in the middle of everything.
[2] In 2004 Dudderidge described Blyth as being focused on customer needs through the 1970s and '80s, interested in designing mixing consoles to fit: "I vividly remember lunch meetings with Albert Leccese of Audio Analysts where Graham would start designing stuff with Albert on cocktail napkins; there was a terrific synergy between them ... and the things we worked on with Tom Schlum and Mick Whelan of Electrotec prior to that were just as exciting.
"[8] Beginning in 1972, Blyth and Dudderidge teamed with Roger Lindsay to form Europa Concert Systems, a live sound company that catered to American bands touring Europe.
Dudderidge left within the year, but Blyth stayed to serve Harman as product designer[10] and was responsible in 1991 for creating the "affordable" Spirit-by-Soundcraft line of mixers which sold more than 120,000 units by 1995.
"[16] Picking up the pace in the 2000s, Blyth, together with Product Manager Andy Brown, created the Soundcraft Vi6, a digital mixer intended for sound reinforcement applications, released mid-2006.
[6] Its interface was a development of Vistonics, a broadcast and studio mixing concept from Harman-owned Studer combined with a digital effects package from Lexicon.
"[2] Blyth served for years as technical director at Soundcraft Studer's design offices at Potters Bar, 29 km (18 mi) north of London.
[3] In November 2012, Blyth was honoured with a Doctor of Science degree from University of Hertfordshire, in recognition of his audio engineering innovations which advanced the field of mixing console design.