Welcome to the biggest ever issue of Sound On Sound! Actually, we have produced 112 page issues before, but this month's reader survey makes July 1991 the biggest yet. Do please fill in the survey form and return it to us. Quite apart from the fact that it gives you a chance to win a rather wonderful Lexicon LXP15 effects processor, it will help us to provide the continuing service that you want, by giving us valuable data on how you make music, why you read Sound On Sound, which bits of it you like and dislike (not too many of the latter, I hope), and so on.
Mow many of you, for example, are actually reading this? I mean, I know you are reading this, but how many other people are? I think about that every month, because every month I sit down at the very end of a hectic few days of final production and try and come up with some concise and stimulating ideas to introduce each issue. However, the late nights, high caffeine levels and, this month, sole-means-of-transport-destroying car crashes that are a part of that production ritual dictate that what I end up with is more of a stream of consciousness than a lovingly-crafted essay. I live in constant fear of a letter from a psychologist giving his analysis of my collected editorials.
But back to this issue. This month brings the International Music Show, and with it a chance for those of you that can make it along to Olympia to try for yourselves the current crop of hi-tech goodies. This issue includes reviews of several of the hottest, in particular the Emu Procussion, Roland's RSP550, the Yamaha EMP100, and the outrageously sexy Sony DATman (yes doctor, I know I said it was "sexy", but I didn't mean... well, I don't have a fetish, as such... at least not for tape recorders).
Of course, although the hi-tech music market is very much driven by new technology and new products, good equipment remains good equipment, and the home recordist is never more aware of this than in times of recession. Given the rate of depreciation of synths, samplers and other hi-tech equipment, buying second-hand can give you a lot more bang for your buck. This is one of the reasons for starting the Hands On series — many people are interested in finding out more about established products, as well as new ones.
So, let us know about you and your music, about what you think of the magazine, and give us the information that allows us to address your needs. And should you attend the IMS, and if you get tired of playing with all those new gadgets, squeezing into demo booths, and waiting for whoever else is trying product X to hand over the headphones, do come along and see us on the Sound On Sound stand. We'll be only to happy to see you.
Editorial by Paul Ireson
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