LAST MONTH SAW the world's recording industry gather in downtown Los Angeles for the winter AES (Audio Engineering Society) exhibition. At the show, a great deal of debate surrounded the pros and cons of direct-to-disk recording. With pioneers of this system like NED (whose Synclavier has used this method for sampling since 1984) showing complete multitrack systems, PPG exhibiting their HDU and Realizer products which are based around the hard disk, and the launch of new systems from such names as Lexicon and AMS, the time has certainly come for this technology to be given serious consideration.

Some disadvantages remain, of course, the principal one being the expense of storing your recordings in this format. And it looks as if tape is going to be with us for a while yet, whether the signals stored on it are analogue or digital, simply because it is such an economical format. By comparison, the hard disk is expensive, though the advantages in terms of speed of location, digital-domain processing (without deterioration) and editing are quite considerable.

But in any case, there will always be those who champion the cause of analogue techniques, hearing a 'warmth' and character which is lacking in the transparency of digital recording.

We here at MT are no strangers to such arguments. Good-natured disagreements as to the relative merits of the MiniMoog and DX7 are a day-to-day occurrence. And we know at least one highly successful Fairlight Series II programmer who refuses to get into the Series III because it's too good ...or as he puts it, "the Series III is nothing to do with rock 'n' roll!"

In our philosophical moments, we take a more objective view. In a world full of musical differences (it's called variety - the spice of life, remember?), there has to be room for both sides of any argument. Several of this year's and last year's major albums were made using an analogue multitrack tape machine (for vocals, drums, pianos and guitars, say) synced to a digital one (for electronic keyboards and orchestral arrangements, perhaps). This hybrid method of recording seems to be becoming increasingly popular, as people discover they prefer some instrument recorded digitally, but another on analogue. The 'AAD' classification of Peter Gabriel's So Compact Disc conceals the fact that much of it was recorded on a Mitsubishi 32-track digital machine, yet analogue recording techniques obviously had a part to play as well.

So the message here is clear. As each new technological advance comes along, we need to moderate our reaction to it. Blank refusal to experiment with new developments is pointless, but so is the casting away of hard-won traditional techniques in favour of the Flavour Of The Month.

Continuing the tradition set by E&MM, MUSIC TECHNOLOGY is committed to the kind of objective analysis (tinted by the subjectivity that is inevitably linked to any art form, music included) that promotes a greater understanding of the pros and cons of each new technological development. We examine new technology as it arrives, evaluate the new opportunities it brings, point out its possible shortcomings, and estimate its impact on the musical techniques of tomorrow.

We also act as a forum for comment and discussion - through the interviews and letters we publish - on its impact in the musical world.

So to keep abreast of all the latest technology, and to ensure you get a clear view of how it is affecting the way we make and record music, keep your eye on our pages -and accept no substitute.