From the American Dr Ts comes an Atari ST program capable of additive, FM, AM and multiwaveform synthesis as well as sample editing. Chris Meyer asks if facilities are everything.

Jools in the Crown

Fun In The Waves

Akai S900 Editor for the Atari ST

This comprehensive visual sample-editing package from America could be the answer to many S900 owner's prayers. Vic Lennard says: have ST will travel.

Contrary to popular belief, glitching isn't a social embarrassment it's simply the sign of a bad loop; Chris Meyer and Bill Aspromonte suggest ways of improving your sampling techniques.

Responsible for establishing artists like Yazz and Lisa Stansfield, Coldcut also have a reputation for being one of the most innovative production teams around. Tim Goodyer learns about their new LP and the future of computer graphics.

Steve Reich & Beryl Korot's The Cave

The line between man and machine is blurred; today there exists an entity whose purpose is to make music. Simon Trask discovers that its sights are locked on the dance charts and it absolutely will not stop.

As musicians demand ever more from their samplers, Akai replace the studio-standard S900 with an enhanced machine. Vic Lennard samples the march of progress.

Last month we gave you advice on choosing a computer for musical applications; as a follow on, this month Mike Barnes provides a comprehensive rundown of available music software for the Atari, Macintosh, IBM PC, and Amiga computers.

BMF Report

This year's British Music Fair left the confines of Olympia in favour of a stadium atmosphere. Simon Trask goes walkabout at Wembley.

Wrexham's master remixers spill the beans

In the final part of a look into the world of additive synthesis, Chris Meyer explains the different approaches to additive synthesis adopted by various manufacturers and which synths have employed them.

From Sheffield's tradition as the home of industrial funk, come the Fon Force. David Bradwell talks to the men behind the cream of modern northern dance music.

Jungle

We profile three of the hottest production teams in jungle

Instead of following other keyboard manufacturers sheep-like into sampling machines, Oberheim have come up with a unique device which doesn't sample but replays disks from several other samplers. Paul Wiffen investigates.

Software for the IBM PC

Generic sample editors have been giving Atari ST users a lead in sample editing for a while; now IBM PC users have the chance to get ahead. Dennis Miller has a vision.

As your MIDI studio expands, MIDI management becomes more and more important. Vic Lennard investigates an 8x8 MIDI patchbay that could make your music more important than your MIDI leads.

Instrumental music doesn't sell, the UK dance scene is totally bereft of life, and dance bands never produce decent albums. Wrong, wrong, wrong — and 808 State are back with proof. Nigel Humberstone talked to Manchester's finest during the recording of Gorgeous, their third album.

From Weather Report drummer to hi-tech enthusiast and Mac fanatic. Bob O'Donnell talks to a drummer who's discovered technology and used his rhythmic knowledge to get the best from his programming.

Digidesign Softsynth & Turbosynth

What can you do with a sampler when you're bored of sampling? Paul Ireson finds an answer to this question in the form of creative software from Digidesign that can turn your sampler into a powerful synthesizer.

The Mix's terrestrial bulletin board

By ignoring the charts and treating dance music as a live phenomenon, Adamski has won himself a huge following and a chart placing. Simon Trask talks about the live applications of studio music.

Synthesis Software

CAD meets synthesis inside the Apple Mac. Robert Rich fires up a program that allows you to design your sounds on computer before transferring them to your sampler.