The secret life of the noise gate

Open your gate and find the key to a better sound

Steve Cogan talks to J.J. Jezalik about life, the universe and sampling car doors

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.

Peter Gunn

Jim Betteridge plays 'Hunt the Aled Jones sample.'

Are The Art of Noise? Is Adrian Deevoy?

Leaving the comforts of the studio behind, the Art of Noise step out into the real world of live music, taking their MIDI technology with them. Chris Meyer lends an ear to see how they fare.

JJ Jeczalik

With the title track from the film Dragnet currently on release, the Art of Noise are still newsworthy. Paul Tingen talks to JJ Jeczalik about sampling, Frankie Goes To Hollywood and court cases.

Flushed with the chart success of Close (To The Edit), the 'faceless' trio return with more talk of Art, Empire and Industry. Paul Gilby pushed the record button and monitored the noise levels...

It's not all drumstick and calf skin in the world of the percussionist, y'know. Andy Duncan emits a pleasing 'bong' when struck with a typewriter and discovers other household objects are just as musically compliant.

JJ Jeczalik And The Art Of Toys

Best known for his pioneering sampling work and his role in The Art of Noise, JJ holds strong views on the creative use and abuse of studio equipment.

The Art of Sampling

Part 1: The Art Of Sampling. Keyboard programmer Paul Wiffen offers valuable advice on squeezing the most out of your sampler.

Well established as sampling innovators, the Art Of Noise have just released their fourth LP. David Bradwell talks to the Art's JJ Jeczalik about Fairlights and fairplay.

Graeme Revell

SPK pick tracks

The noise from the black stuff

Sarm West

Report by Curtis Schwartz.

Welcome to The Mix

The weirdest recording technique we've ever heard, honest.

Steve Cogan takes time out to talk to the members of Yen

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?