trash can

The whizz-kid that made a number one hit out of a spoken-word soundtrack and a sampler with 19' is now The Wizard, courtesy of a new signature tune for 'Top of the Pops'. Tim Goodyer meets the man, the Synclavier, and the passion for new technology.

Artistic Control

Who keeps it when you sign your deal? You, or the record companies? Does it matter anyway? Keith Grant sounds out opinion from both sides of the Biz

Martyn Ware talks about money and the musician. Make £50,000 without playing a note.

Birmingham's Triangle Media & Arts Centre houses what is probably the largest 8-track recording facility in the country. It also runs some interesting extra-curricula activities in the form of a Rock Recording course. We asked the man in charge, Bruce Hart, to tell us more about it.

David Janda goes for his regular jaunt round the bulletin boards

More from the world of pine cladding and deep-pile carpet

'If you can't come from Chicago, come from Scotland', reasons Tony Reed

Chas de Whalley gets down with the Scottish Sultan of Soul, Steve Harvey

Indie Records

First part on how to go about releasing your own electronic record. A D.I.Y. guide.

Poe shaped ex-Pere Ubu person pontificates

From Gretsches to Strats, from Pop to Jazz. The ever-changing songwriter talks chords, choruses and contrapuntals with Adrian Deevoy

grab your slice

how to get your music on the radio

Building his career on productions of Jennifer Warnes, Malcolm McLaren and the Communards, Stephen Hague has found his greatest success with The Pet Shop Boys. David Bradwell talks shop.

Never a dull moment at the office, as the telephone keeps the world in touch with Music Technology.

RETROSPECT: elvis costello

an appreciation of one of the decade’s great songwriting talents; could you match them?

Red Guitars

Red Guitars choose a collective top eight tracks.

Who's in, who's out, where, why, and what. What?

orchestral manoeuvres in the sun

Chris Denning, former Radio 1 DJ, tells you how to go about presenting a demo to record companies and what pitfalls to avoid.

To mime or not to mime, that is the question. Just when does miming stop being a convenient practice in presenting music TV programs and start to have an effect on the music itself?