A few years ago there was a lot of debate about what impact synthesisers and 'black box' rhythm machines were going to have on live music and the employment prospects for players. At the time, many M.U. members in particular feared the loss of their regular gigs and the waste of hard-won instrumental skills, both being replaced by the programmable machines.

I don't want to get deep into the politics of this argument (there are plus points to be made on both sides), but it at last seems as if some of the fears voiced by those instrumentalists have come true - and that the major victims of the new technology are our poor old friends, the drummers. Notwithstanding the early experiments of some 1970s bands and the later endeavours of all-electronic outfits, it's during the past two years that rhythm machines have become sophisticated and cheap enough to really satisfactorily supplant a human player in the average gigging band, and their use is rapidly gaining ground in that role right now. In the past couple of weeks I've heard of three separate cases where a guitarist and keyboard player have sacked and then replaced their drummer with a programmable rhythm machine — in each case for reasons of economy.

At the back of this trend is (you guessed it!) money. Despite beer and/or admission prices having risen just slightly faster than the IT Cat's hackles at the sight of the rent man, gig money for players remains at appallingly low levels. As the cost of living has shot ahead of what a band can earn, someone has had to go and, because it's still hard to replace guitarists and keyboard players, it's the drummer who gets the chop, his replacement being a drum machine (which, after all, doesn't have his prodigious need for booze, fags, burgers, bail money and so on). Apart from the fact that it's way past the time when gig money should have been forced up, it's my firm belief that this trend is so dangerous to the future prospects of the bands themselves that it should be resisted at almost any cost. Here's why.

It's easy to forget that music is part of the entertainment business, just like television, the cinema and football. People pay money not just to hear music (which they can probably do better at home on their Hi-Fis) but to see it being performed and to enjoy the unique excitement of watching it being made. If the actual performance of a piece of music wasn't worth watching, then discos would have put us all out of business ten years ago.

The point I'm trying to establish is that a band needs to be able to put its music across in an exciting and visual way to thrill an audience, and that drummers have a major part to play in that process. From a purely musical point of view, you might well be able to dispense with them (and, indeed, keyboardists will soon have to look to their laurels with the advent of the new STEPP guitar), but replace any musician with a machine and all you have to excite your audiences with is a box of silicone chips. In effect you've moved one step closer to a disco — and how many non-radio DJs become stars? Rhythm machines, samplers, sequencers, computer software based musical devices all have their part to play in making today's sounds. They're invaluable tools in recording and for supplementing your stage sound of course, but none of them can be any sort of substitute for the excitement generated by a performing musician, and that's what lasting success is based on, whether the medium chosen is 'live' or on video. So, think twice before sacking your drummer, your bass player or (next year) your keyboardist. You might just be sacking the performer who gives your act the winning edge!

Right — time to put away my soapbox for this month. Undoubtedly of much more interest is what we have for you in this issue. Vitally, it's timed to coincide with the Barbican Guitar Weekend, which has become one of the most important events in music making during the past few years. As so few specialist and custom guitar makers were present at this year's British Music Fair it's an event not to be missed. Peter Cropley and Barry Cheeseman (the men behind organisers UKG Promotions) are insane enough to have made entry, once again, free of charge, which unites them in their lunacy with us — so you really haven't got an excuse for missing this show, have you? Inside this issue you'll find a full run-down of who's there and what they'll be showing, plus the most up-to-date news and reviews for all players, guitarists or not.

And now for some really good news! In recent issues I've promised some major changes in IT, and the first starts next month. Yes, it's what so many of you have requested — a Readers' Letters page. Of course, how good your letters page will be is inevitably down to you. If it's all 'Dear IT, I've got this Strat, Serial Number etc. etc.' stuff then I guarantee our page will be as turgid and pointless as most mags' efforts. Yes, we'll certainly try to answer your questions, but we'll only print them if the answers will help other readers. What's really required though is some nice juicy controversy. Want to raise an issue? Got a pet love or hate? An axe to grind? Go on, stir it up - I challenge you! Send your letters to us (as fast as possible) at Letters, (Contact Details).

See you next month!