The software revolution hits a snag.

Trace Elliot amplification and yet more software for the Commodore 64 are amongst this month's colection of newsworthy items - plus a chance to win some unique Neuronium regalia in an exclusive competition.

E&MM's own agony column turns its attention to education, UK Electronica, classical music, and anything else readers might want to write to us about.

Vancouver, Canada was the location for two hi-tech music events last August. Ron Briefel reports on the first of them, Digicon '85, and finds he has plenty to talk about.

Three 19" rack-mounted modules that act as a delay, a dynamics controller, and an arpeggiator respectively. Simon Trask gives them the critical treatment.

Another goodie for your overflowing 19" effects ruck, this one offers pitch-controllable sampling and a full-function DDL into the bargain. Dave Simpson grabs a microphone and decides it's worth making room for.

Synth players in search of Heaven need look no further than West London, where a recording studio puts the emphasis firmly on hi-tech musical equipment, but doesn't charge people the Earth to use it. Simon Trusk pays Paradise a visit.

Polysynths, voice expanders and remote keyboard controllers are the subject of this month's no-holds-barred price guide. Don’t buy another instrument until you've read this.

An eight-track program capable of holding up to 16 sequences, and offering comprehensive editing facilities. Trish McGrath waits impatiently for its arrival in the UK.

Annabel Scott talks to one of the synth world's younger composers about a new album of raunchier, dynamic music, the result of his first sessions in Jive Electro's equipment-laden studio, Battery.

Paul White casts an approving ear towards Custom Sound's Cub 60 combo. If you're on the lookout for a cheap way to get rid of your neighbours, this could be for you.

The second, and final part of Jay Chapman's Monitor program for E&MM's own BBC-MIDI interface. This month's instalment gives the program listing and explains how it was written.

Tim Goadyer takes time out to lend a critical ear to a batch of current album and single releases, along with some readers' demos.

First of an occasional series on the twilight zone between recording first demos and collecting that first gold disc. Birmingham's Nightcatchers talk to Tim Goodyer about tight budgets and big-name producers.

Ian Waugh examines Passport's new scorewriting program for the Commodore 64, and likes what he sees. If only he could write music...

Do you turn pale at the thought of forking out for a Simmons SDS9? Do you go green with envy when friends show off brand-new Ultimate Percussion kits? Paul White's design for a build-your-unswer electronic drum hit could bring a bit of colour to your cheeks.

Korg's flagship poly gets a touch-sensitive keyboard, a built-in DDL, and a lot more besides. Simon Trask concludes it’s what the DW6000 should have been all along.

The man who brought computers to Frankie and programmed his way to chart infamy with The Art of Noise, fits in an interview before going out to play some very English sport. Paul Tingen fills in the scorecard.

The 1B version was good, but Simon Trask has spent a month with its successor, and reckons it deserves its reputation as the most professional sequencing package designed round a home computer.