There are changes afoot in the Music Technology offices; people moving on and moving up means that MT's looking for new staff - could be we're looking for you.

More news of the latest developments and events in the world of hi-tech music - remember: you read it first in Music Technology.

Your chance to have your say - this month readers sound off about interfacing equipment, synth patches, pop music, Tangerine Dream and Lizzie Tear's physique.

Rather than keep the module-addicts happy with a rack version of their EPS sampler, Ensoniq have incorporated some attractive improvements into their EPS-M - like quadrupling its memory. David Bradwell liked it so much he bought it...

In an exclusive preview of Roland's forthcoming W30 workstation, Bob O'Donnell checks out Roland's idea of the facilities a MIDI workstation should offer.

If you're looking for the sound of the Minimoog without the limitations of pre-MIDI gear, the MIDImoog could be for you. Tim Goodyer puts the 1989 version of Moog's classic synth through its paces.

After producing artists ranging from Bomb the Bass and S 'Xpress to Bryan Ferry and Wet Wet Wet, Pascal Gabriel is about to begin his own career as a recording artist. Tim Goodyer discovers a Lovechild.

Aimed at the higher end of the market, Akai's latest reverb unit forsakes digital clarity in favour of more realistic sound treatment. Vic Lennard goes au naturel.

If you regard MIDI Implementation charts as being indecipherable tables of numbers, you could be ignoring an easy way of solving your MIDI problems. Vic Lennard opens a series of articles on how to read the small print.

As PWL's in-house mixer, Pete Hammond can claim to have had a hand in even more chart singles than Stock, Aitken & Waterman. David Bradwell finds out what makes a hit record.

If computer-based sequencing seems too complicated or too expensive for you, AB Software's Midistudio could change your life. Ian Waugh boots up a friendly and inexpensive sequencer for the Atari ST.

A review of the Desert Island sample collection for the Mirage joins readers' own patches for the Roland D110, Ensoniq ESQ1 and Casio CZ5000 in this month's action-packed edition of Patchwork.

As well as being famous for the size of his record collection, DJ Mark is currently one of the major forces in hip hop sampling. The 45 King tells Simon Trask about the biters and the bitten.

Although Yamaha are reluctant to call it a workstation, the V50 incorporates FM synthesis, drum voices, and sequencing and effects processing facilities. Dan Rue checks out Yamaha's workst...

Meanwhile, Elka have called their CR99 a MIDI Disk Recorder rather than a MIDI sequencer. Vic Lennard goes on record with a MIDI sequencer with a few surprises up its sleeve.

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.

Expensive it maybe, but CD ROM storage is one way of making a sampler a much more powerful instrument. And if you're using a Roland S550, it may not be as expensive as you think, as Simon Trask discovers.

MIDI is more than a means of sending note data to a couple of synths and changing settings on a reverb unit. Ernie Tello looks into the real-time applications of MIDI.

Akai's new MIDI master keyboard boasts a weighted six-octave keyboard and new terminology for its features. Simon Trask decides MIDI control is more than a simple matter of feel.

At the time Moog discontinued the Minimoog, they launched the first programmable monosynth to use digital parameter editing. Nick Magnus reflects on a synth that was ahead of its time but overlooked by most players.

In the multi-effects processor wars, Digitech's DSP 128 Plus distinguishes itself with comprehensive facilities and little sound colouration. Ian Waugh treats himself.