Richard Fowler passes on a few hints and tips tor Alesis HR16 owners

Sure, it's a drum machine - but the HR16 also makes a great drum expander module if you know a few crucial tricks about applying it. Craig Anderton explains all.

Following the success of the MIDIverb, Alesis have ventured into the realms of drum machines and sequencers. Bob O'Donnell lends an ear and discovers that economy doesn't necessarily mean compromise.

A drum machine that sounds more like a drum kit than anything Ludwig ever made? True or not, Alesis' beat box is going to find its way into a lot of recording studios. Nicholas Rowland returns to his roots.

A kit setup for the Alesis HR16 joins the more usual selection of readers DX and D50 patches in this month's Patchwork.

Abandoning guitars for samplers, Skin became Fluke and discovered new artistic freedom. Simon Trask listens to the man/machine argument from people who've learned both sides of it.

Soaking your drum voices in reverb effects gives great sounds but it makes programming drum patterns much harder. Nigel Lord explains how to fit larger-than-life drums into a song.

For over a year now Alesis have had the 'budget' 16-bit drum machine market all to themselves, but the release of the Yamaha RX8 provides musicians with an alternative. Besides 16-bit sound quality, Yamaha's new machine boasts a broad range of 43 sounds, flexible MIDI control, RAM card storage, and more. Paul Ireson checks it out.

A Series By Warren Cann. Part 3.

This month: hints on creating more exciting song arrangements.

A long-awaited replacement for Roland's discontinued M-64C RAM cartridge joins the Dangerous CD Company's Danger 1 sampling CD on the spot in this month's Patchwork.

After carving a career for themselves with their unique brand of anarchic funk, Shriekback have decided the time has come for a change. Barry Andrews tells David Bradwell about the importance of loving musical equipment.

Studio Monitors

Choosing studio monitors on a tight budget can be a demoralising experience - unless you're wise to JBL's new Control 1 Plus and its bass-driving partner. Nigel Lord takes control.

David Hughes lends an ear to three well-priced CDs full of synthesizer and drum machine samples.

After five years in the wilderness, Orchestral Manoeuvres in the Dark are back with a new LP and tour. Tim Goodyer talks to Andy McCluskey about the value of technology.

The Perfect Beat

Is this the ideal way to programme rhythm patterns into your drum machine? Paul Ireson gives Roland's updated drum-to-MIDI convertor a good bashing!

Forsaking guitars and drums for a wall of keyboards and racked modules, Sub Sub turned a home studio into a hit factory. ‘Ain’t No Love (Ain’t No Use)’ peaked at Number 3 and took everyone by surprise - except Phil Ward, who heard the single pre-release and contacted the band immediately.

Andy McCluskey

Andy McCluskey reveals his dislike for synth programming and his penchant for the classics.

Digital Rhythm Programmer

Two years on from their impressive, RX5 drum machine, Yamaha have slimmed down their flagship to give us an affordable 16-bit beat box. Chris Many reckons it could be a hit.

Following the success of the Octapad and Octapad II, Roland have come down-budget with a MIDI percussion controller to suit all pockets. Simon Trask scores a hit.

Recording acoustic instruments is a fine art, but electronic instruments present their own set of problems. Craig Anderton explains how to do it properly.

In spite of The Turtles' attempts to sue them to death, De La Soul is Dead remains simply the title of their second long player. Mark van Schaick talks samples and success with Maseo.

Remove the sequencing facilities from your drum machine and what do you get? A damned good idea for a new product that's what! Paul Ireson checks out Akai's 16-bit sampled drum box - the perfect companion for your sequencer.

D'Cuckoo are hardly your average MIDI band: they build their own instruments; they're all women, and they play "post-industrial cyber-tribal world-funk". Paul Tingen investigates.

Techno music, the true successor to late seventies synth-pop, translates the desolation of post-Motown Detroit into electronic dance rhythms. Simon Trask listens to the programmer's tale.