Once threatened by widdly widdly guitarists and over-enthusiastic drummers, space in music is again under threat - but this time the aggressor is high technology.

News of Akai's Roadshow, Pro24 for the Amiga and a studio that specialises in drum machines; if it's newsworthy, catch it here, in Music Technology's regular news service.

Letters, letters, the postman's sick of 'em - if only the offices weren't on the fourth floor. But there are some decidedly strange goings on in MTs letters this month.

MIDI sophistication in the humble patchbay: this modest-looking unit can store 100 routings of its 16x16 audio matrix and place the proceedings under MIDI control. Lorenz Rychner patches things up.

Sampling is the name of the game, but without the equipment you can't play. Simon Trask investigates a unit that wil turn your Atari into a sampler for under eighty quid.

If your master keyboard is not living up to its name, Oberheim's Systemizer may provide it with the MIDI performance features you need. Simon Trask gets into the system.

Once considered an instrument no keyboard player should be without, more recently regarded as a mechanical monstrosity, the Mellotron was definitely an early sampler, but was it the first? Dave "Crumbly" Crombie reminisces.

An Australian composer accepts a brief to provide music for an exhibition of pottery - the catch is that all the sounds should be sampled from the exhibits. Sandra McLean talks to the man who makes pottery sing.

Following the success of their Midiverbs and Microverbs, Alesis have developed a unit capable of providing no less than four audio treatments simultaneously. Ian Waugh practices his four-play.

MIDI is regularly used to perform tasks as varied as switching notes on and off, storing patch libraries and controlling mixes, but can it control sound itself? Vic Lennard looks at the uses of MIDI noise gates.

The latest update to Hybrid Arts' MIDI Track range of Atari ST sequencers gives them a host of new and improved features. Davd Bradwell re-examines Hybrid's track record.

Making their presence felt in the singles charts once again, New Order are celebrating eight years together with a new album and forthcoming tour. David Bradwell and Chris Williams investigate the Order of things.

When the usual MIDI In, Out and Thru that appear on most of your MIDI gear are unable to manage your MIDI data, outside help is in order. Vic Lennard has the urge to merge with Philip Rees' 2M and Groove Electronics' MIIM.

The second and final part of this series on computer composition examines the differences between human composers and their electronic counterparts. Ian Waugh keeps the score.

If you're drowning in ROMs and RAMs full of D50 patches but still can't lay your hands on the sound you need, an editor/librarian program like Capture! could be the answer to your prayer. Gordon Reid is captivated.

Continuing the theme of computers and composition, Ludwig is Hybrid Arts' contribution to the growing selection of algorithmic composers currently available. Ian Waugh walks the dog.

The theme of this month's edition of Patchwork is decidedly traditional, as Casio's CZ101 joins the ubiquitous DX7 and D50 as the subjects for readers' programming dexterity.

Outcast by the classical fraternity in his native Sweden, Stig Miölssön has come to Britain in search of acceptance for his revolutionary ideas. Tim Goodyer learns about cut-up classics.

Steinberg's Atari editor for the Roland D10 also works for the MT32 - or is that Steinberg's D110 editor works with the D20? Vic Lennard gets generic with Synthworks.

As the sequencer comes of age, the role of the drum machine is brought into question: why have a sequencer in your drum box if there's already one in your computer? Simon Trask investigates what may be the next step for the beat box.

If the usual approach to computer sequencing is unappealing or uninspiring to you, you may find the approach offered by this Atari ST program more to your liking. Chris Meyer finds time for Real Time.